Florence Baptistery - Knowledge (XXG)

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a long stick stokes up the flames below the roasted sinner, while a fellow-demon bastes him with oil. Nearby, another devil seizes a reprobate by the arm, and is about to amputate it with a meat-cleaver he brandishes above his head.… As for the reprobates, the only one whose identity is certain — assured by a caption — is Judas, hanged on a tree to the far right of the scene…”

5196: 565:’ ravages. In the modern period skepticism mounted until these legends were abandoned in the nineteenth century, in part because excavations revealed that a very different structure, a large house, was present at the site in Roman times. A burial ground with rough-hewn stones from around the 7th century has also been discovered beneath a portion of the building. 493:, as observers have noted for at least 700 years, and yet it is also a highly original artistic achievement. The scholar Walter Paatz observed that the total effect of the Baptistery has no parallels at all. This singularity has made the origins of the Baptistery a centuries-long enigma, with hypotheses that it was originally a Roman temple, an early Christian 1753:). The scene corresponds to many of the prescriptions that Alberti would offer in his treatise: it is constructed in an architectural setting seen in linear perspective, Corinthian capitals refer to ancient architecture, drapery is rendered to suggest the beauty of the limbs beneath, and the figures’ motions are harmonious within a coordinated space. 901: 2518: 1765: 2202:; as on the other side, the one closer to the altar was placed first. In it is entombed Giovanni da Velletri (d. 1230), the bishop of Florence under whom the mosaic ceiling was begun. The other sarcophagus, with a fourth-century relief of a hunting scene and a much-later cover, was brought to the Baptistery in 1928 from the 1424:

interpreted in the most human and down-to-earth terms, without ever sacrificing that sense of the exalted nature of the drama that lifts them into the realm of the spiritual.” Kenneth Clark notes that Andrea’s style is “profoundly human” and that whereas “Giotto’s men and women are types; Andrea’s are individuals.”

1538:. Their work was largely finished by summer 1416, but Ghiberti would lead the project until the doors’ installation on Easter Sunday of 1424. The 21-year enterprise proved extremely expensive, equivalent to the annual Florentine defense budget and almost as costly as Florence’s purchase of the entire city of 1171: 2870: 663:(on the papal throne 1073–1085). Although small, Florence was an important administrative and religious center, and these powerful figures would have been willing and able to sponsor a building as ambitious and costly as the Baptistery, which would otherwise seem out of reach for the city. Ranieri, the 944:

Thick walls beneath the floor of the Baptistery form an inner octagon whose size is approximated by the innermost portion of the Baptistery pavement. The purpose of these walls is obscure, but scholars have suggested that they were part of a smaller baptistery that preceded the current one, that they

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In the 2020s archival research among the manuscripts of Del Migliore and a close associate revealed that neither claim is accurate: the Baptistery was not consecrated in 1059, and no baptismal font was introduced in 1128. This finding is not entirely surprising; historians started to notice errors in

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The overwhelming scholarly consensus today, based on its construction technique and architectural style, is that the origins of the Baptistery are to be found in the 11th or 12th century. Developing a more precise dating has been difficult because of two confounding indications in Ferdinando Leopoldo

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The Baptistery serves as a focus for the city’s most important religious celebrations, including the Festival of Saint John held on June 24, still a legal holiday in Florence. In the past the Baptistery housed the insignia of Florence and the towns it conquered and offered a venue to honor individual

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according to which the mosaic project was begun in 1225, although it must have been written later since it refers to Saint Francis, not canonized until 1228. Since no work consistent with art of that early period is visible, Boskovits and others suggest that the earliest work on the project was lost

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Hell is envisaged as a desolate landscape of rocky mountains spewing fire. It pullulates with small devils… who transport the damned and inflict on them the most varied tortures, at times culinary in aspect: in the foreground on the right a man, impaled on a spit, is being turned by a devil who with

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mosaics remain particularly difficult to place stylistically and chronologically. Prophets and saints appear on the triumphal arch leading to the chancel, and on the vault within we see four telamons supporting a large wheel encircling prophets and patriarchs, a mystic lamb at its center, with John

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The stories in the first of these segments probably date from the period 1270–75. They include reworking and restorations across many centuries, but in general it seems that the upper Old Testament stories were originally the product of the workshop that included Salerno, Coppo di Marcovaldo’s son,

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In the mid-15th century, the decision was made to transform the frontal into a mobile altar that could be set up on the ancient font at the center of the Baptistery three times a year, along with liturgical objects and reliquaries. Matteo di Giovanni and Ghiberti’s son Tommaso worked on the central

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The remainder of the scenes have been attributed to anonymous artists known as the Penultimate Master and the Last Master, although Boskovits identifies another master who completed the last three scenes of St. John’s life. He places their design in the years around 1300 due to the softness of the

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had arisen in Florence organically, one would expect more Florentine Romanesque churches to cite ancient buildings. Instead, parts of the Baptistery completed only a generation or two later, such as the interior gallery level, show a typically medieval delight in geometric and figurative ornament,

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The panels are included in a richly decorated gilt framework of foliage and fruit, many statuettes of prophets and 24 busts. Lorenzo Ghiberti once again includes a self-portrait, which to Kenneth Clark suggests that the “serious young man, intently contemplating his visions, has become a wily old

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is told in twenty panels reading from bottom to top, following the “upward path of salvation”. The eye goes first to scenes of Christ’s birth, rising to his baptism and his miracles, until reaching the culminating scenes of his crucifixion and resurrection in the highest register. George Robinson

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expands out of the west side. The other sides are each adorned with three blind arches, of equal size on the intercardinal faces, and with an expanded central arch on the faces that include a doorway. Within these arches are windows with monumental surrounds modeled after the aedicules inside the

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was begun in 1202, but his stated archival source cannot be verified. The installation of the lantern in 1150 presupposes a broad dome, which likely would not have survived the removal of a semicircular apse from beneath it since "the chancel is indispensable for the stability of the whole dome,

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borders may have been imposed by another artist involved in the project, Andrea Pisano generally finds ways to work within them. For example, the architecture and drapery rhythms in the scene of the Baptist’s funeral artfully confront the enclosing shape. For Anita Moskowitz, “Divine events are

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of Florence appointed in 1072 or 1073 whose tomb has a place of honor inside the building, would have overseen the construction. The hypothesis dovetails with the masonry evidence and radiocarbon dating of charcoal excavated nearby that suggests a major building project took place at this time.

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Ghiberti and his team show a strong interest in antique sculpture and architecture. The panels are surrounded by a framework of foliage in the door case and gilded busts of prophets and sibyls, as well as a self-portrait of the middle-aged Ghiberti, at the intersections between the panels.

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Above the main two levels of the exterior, and set back from them, is an attic level, likely completed in the 1130s. It contains the “only error” Brunelleschi said he could find in the building: a horizontal entablature that bends to become vertical, contrary to the practices of classical

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Below the main vault, interspersed with rectangular openings, are mosaic depictions of saints, popes, bishops, and martyr deacons, and on the outside faces of the gallery-level parapets are busts of patriarchs and prophets, all from the early 14th century. Among the artists involved were

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located at the center of the building. Over the course of the 13th century, individual baptisms soon after birth became common, so less apparatus was necessary. Around 1370 a small font was commissioned, which is still in use today. The original font, disused, was dismantled in 1577 by

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values. On the one hand, they emphasize sinuous lines and work carefully within the medieval quatrefoil format, making few references to antiquity in most of the panels. Nonetheless, Ghiberti is an innovator, seeking to overcome the limitations of the format by implying a new sense of

2832: 2778:. Corso and his workshop were responsible for the remainder of the episodes in the northeast and eastern segments. Several scenes in the southeast segment fell down in 1819 and had to be re-created, but others in a better state suggest the hands of Corso and Grifo di Tancredi. 774:. In the eleventh century, the Pantheon, converted to a church in 609, was officiated only on the most important holidays, and only for masses celebrated by the pope himself. Moreover, papal interest in the Roman empire was high. Pope Alexander II sponsored the construction of 2900:

Execution of the various masters’ designs was not without difficulties. One document notes that two mosaicists named Bingo and Pazzo had to be expelled from the worksite for unprofessional conduct, and new skilled mosaicists were to be sought urgently in Venice or elsewhere.

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was baptized there and hoped, in vain, that he would “return as poet and put on, at my baptismal font, the laurel crown.” The city walls begun in 1285 may have been designed so that the baptistery would be at the exact center of Florence, like the temple at the center of the

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in 1073) could indicate the hand of the same architect, strengthening the case that the architect of the Baptistery came from the papal entourage in Rome. The presence on the Baptistery of a motif including a round-arched window flanked by windows with triangular

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dated 1207, was formerly thought to have astronomical significance, but this is now considered unlikely. The pavement was probably executed over the course of the 12th century. According to seventeenth-century sources, adults placed children atop a

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Florence undoubtedly had a baptistery before the present one, but whether it existed at the same location, or was placed somewhere else near the cathedral (the Milan baptistery was behind the cathedral), is a matter of ongoing debate and inquiry.

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The project would ultimately prove almost as costly as the first set of doors, but even more beautiful — and the first set of doors, originally hung facing the Cathedral, would be moved to the north portal so that these could take their place.

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The doors present twenty scenes retelling the life of the Baptist, the patron saint of Florence, in gilded bronze, many clearly inspired by the fifteen scenes from his life depicted on the interior mosaic ceiling or the three scenes painted by

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The Last Judgment occupies the main zone of three of the eight segments of the dome. The other five segments, meant to be viewed facing the Gates of Paradise and scanning from left to right, include four tiers depicting the beginning of the

2448: 1854:. Monumental columns of the size used could not be produced in the 11th and 12th centuries, so must have been salvaged from ancient buildings, probably civic or religious structures in the Roman forum that stood at the site of the present 2012: 2191:. A gilt statue, with the face turned to the spectator, reposes on a deathbed, supported by two lions, under a canopy of gilt drapery. He had bequeathed several relics and his great wealth to the Baptistery. Such a monument with a 2467: 2134: 2433: 1455:

called the making of the first set “the most important event in the history of Florentine art in the first quarter of the fifteenth century,” and the making of the second, “one of the great moments in the history of art.”

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For much of its early history, the Baptistery stood among tombs. Even in the 19th century, the southern portal was flanked by sarcophagi. These reminders of earthly death underscored the message of eternal life offered by

623:’s study of Florentine masonry technique (refinement of stone cutting, mortar application, course patterning) showed that the sandstone construction of the lower levels of the Baptistery was close to that of the church of 2559:

The great artist who made the drawings for the six-meter-high Christ Sitting in Judgment (1) and at least parts of the elegant canopy at the center (2) appears to be an anonymous master known for a large Crucifix in the

1997: 3679:. Florence at the time (referred to as “little Florence” in a poem by Peter Damian) would seem to have been unequal to the task “not only on an artistic level, but also economically, technically, and organizationally.” 4881: 1156: 568:

No documents pertaining to the construction of the Baptistery have survived, and passing references to a church of Saint John the Baptist cannot establish its existence because the former Cathedral, now known only as

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made wax models for bronze reliefs that were executed by Venetian masters, which he then gilded. The year in which they were begun, 1330, appears above the doors, but they took six years to complete. The historian

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writes, “while man’s earthly life unfolds in units of finite time like the week with its seven days, in Baptism believers pass over into eternal life, beyond measurable time. They enter into the ‘eighth day’.”

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has political overtones: “if the Israelites were to survive… they had to be united despite conflict, and were obliged to allow power and authority to find its place in the hands of the young and untested.”

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three-dimensionality through foreshortening, swelling drapery, differing levels of relief, and architecture angled away from the viewing plane. And in a few panels assumed to have been made later, like the

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style, generally considered to have been completed between about 1240 and 1300, with numerous interruptions due to an unstable political situation. The work consists of around ten million mosaic tesserae.

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The reliefs are characterized by small figures with a monumental presence. Emotion is measured but unmistakable, as in the scene of the Baptist’s anguished disciples putting him to rest. Although the

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was brought into the Baptistery in 1128. Scholars have struggled to make sense of two apparent markers of completion almost 70 years apart, many supposing one must be mistaken in whole or in part.

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Mezzabarba consecrated for the baptism of their children, and sought baptism elsewhere. This situation seems to have persisted for three years until 1068, when a Vallombrosian brother underwent a

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Bloch, Amy R. (2013). "The two fonts of the Florence baptistery and the evolution of the baptismal rite in Florence, ca. 1200-1500". In Sonne de Torrens, Harriet M.; Torrens, Miguel A. (eds.).

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and the Penultimate Master. Also of this period are the mosaics within the galleries, first those from above the south door, and then those above the east door, attributable to Gaddo Gaddi and

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is missing. Still, the episodes are extraordinarily comprehensive in illustrating the life of the Baptist and rate among Pollaiuolo’s most important work. Works by other artists including

1256: 682:, specifically of having obtained his office through a corrupt offering of money made by his father. Their accusations gained traction among Florentines, to the point that, according to 1699:

A recent study emphasizes the learned Ghiberti’s attempt to reconcile Biblical and classical history, for example including increasingly elaborate architectural structures, following

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Schwarz, Michael Viktor (2022). "Light and Rain: The Invention of the Dome Lantern in 12th-Century Florence". In Fingarova, Galina; Gargova, Fani; Mullett, Margaret (eds.).

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writes that “Ghiberti’s Christ is a dignified, resigned, almost aloof Messiah, whose attitude and behavior have consistently an overtone of sadness and separateness.”

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The Baptistery has eight sides ornamented with classical architectural elements over marble incrustation marked by two-color geometric patterns. The rectilinear apse

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would likely have been seen as a way to restore the authority of the Florentine bishop and help ensure that he oversaw the communal baptism of Florentine infants on

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to prove the righteousness of the monks’ accusations. His survival made the bishop’s position untenable, and Mezzabarba left Florence that summer. A monumental new

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and of the later portions of San Pier Scheraggio, documents about both of which support a dating in the 1060s or 1070s. It is not as refined as the later parts of

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soon after it was published, and in the 20th century, a philologist even demonstrated that Del Migliore had falsified the existence of a medieval Florentine named

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himself participated has been a subject of debate since the 1920s, with recent scholarship tending to be supportive, including work by Michael Viktor Schwarz and

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designed the 27 surviving episodes (cut out of the deteriorating vestments in 1733), though there must have been at least one more since the crucial scene of the

1958:. The resulting ensemble, the Silver Altar of San Giovanni, spans more than a century of Florentine art and was long considered the “noblest emblem of the city.” 1298: 619:

Determining a date for the Baptistery, therefore, depends entirely on relating the evidence inherent in the building itself to the broader context. In the 1930s,

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Out of sarcophagi below Christ’s left hand, the damned emerge. Devils usher lost souls into Hell, which is full of motion, contortion, and expressions of pain.

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shows, they were originally freestanding in Piazza del Duomo. Badly damaged in a storm in 1424, they were placed in their current location a few years later.

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Danziger, Elon (2024). "'Fiorenza figlia di Roma': New Light on the Baptistery of San Giovanni and the Chronology of Florentine Romanesque Architecture".

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According to the most recent research, the baptistery may have been in use by the late 1080s, but construction would continue well into the 12th century.

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Cimabue possibly collaborated with, but in any case was succeeded by, Corso di Buono, known from signed and dated frescoes in the church of San Lorenzo,

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View onto Baptistery pavement. The octagon corresponds to the enclosure of the first font, with the porphyry disc babies were placed upon visible nearby.

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The marble pavement is made up of many independently designed sections, some geometric, others figurative. A zodiac, similar to that on the pavement of

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said the east doors were so beautiful that “they might fittingly stand at the gates of Paradise.” The building also contains the first Renaissance

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Schwarz, Viktor Michael (2021). "'In sul fonte del mio battesimo': Dante's baptismal font in an unknown floor plan of the Florentine baptistery".

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of the history of architecture. Dress also evolves from Abraham and Isaac’s plain robes to the ornately detailed clothing of Solomon and Sheba.

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Paatz, Walter (1940). "Die Hauptströmungen in der Florentiner Baukunst des frühen und hohen Mittelalters und ihr geschichtlicher Hintergrund".

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would add scenes on the left side, while scenes for the right side were commissioned from Antonio di Salvi and Francesco di Giovanni, and from

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chancel is the tomb of Bishop Ranieri (in office 1072/1073–1113), stylistically similar to the tomb of the Countesses Cilla and Gasdia in the

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Although the plan of the Pantheon is circular, it can be divided into eight slices, and thus lends itself to reuse in an octagonal building.

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Frati, Marco (2019). "Battisteri o cappelle palatine? Nuovi studi sulle grandi chiese battesimali dell'XI secolo: Arezzo, Lucca e Firenze".

831:. The affinity of the plan of San Miniato (portion begun 1077) with that of the demolished church of Santa Maria in Portico (consecrated by 5905: 5567: 5080: 2391:. For the scenes from the life of St. John the Baptist embedded into them, a workshop of foreign embroiderers employed the technique of 2220: 1967: 497:

built by Roman master masons, or (the current scholarly consensus) a work of 11th- or 12th-century “proto-Renaissance” architecture. To

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for the Madonna, apostles, and angels to the left of Christ (1) in the years before 1270. They recall an altarpiece he painted in the

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The now-demolished Romanesque font and the octagonal enclosure around it were revetted in marble, fragments of which survive in the

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The domed interior space, with columned niches on its imposing ground level and an apse creating directional emphasis, reprises the

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received the commission, although it is uncertain whether the 34 judges unanimously declared him the winner, as he asserted in his

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https://en.wikisource.org/Page%3AVasari_-_Lives_of_the_Most_Excellent_Painters%2C_Sculptors%2C_and_Architects%2C_volume_1.djvu/397

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https://en.wikisource.org/Page%3AVasari_-_Lives_of_the_Most_Excellent_Painters%2C_Sculptors%2C_and_Architects%2C_volume_1.djvu/396

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Work on the doors lasted from 1429 until 1447 and involved a large workshop that included Ghiberti’s sons Vittorio and Tommaso,

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commissioned liturgical vestments for Baptistery canons in a project that would last more than twenty years, yielding two

1789: 2372:, made around 1455 in Donatello’s old age, was in the Baptistery in 1500, although it may not have been intended for it. 877:

The octagon was a common shape for baptisteries since early Christian times. Other early examples are the fourth-century

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Verdon, Timothy (2016). "Il Battistero e San Miniato al Monte: i primi monumenti fiorentini". In Verdon, Timothy (ed.).

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whose pose seems to parody Christ in Judgment. Coppo’s workshop, including his son Salerno di Coppo, composed the rest.

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was created from humanity in an analogous manner. For George Robinson, on the other hand, the telling of the stories of

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A hypothesis published in 2024 proposes that the Baptistery originated in the early 1070s from a collaboration between

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The zebra-stripe corners are not part of the original design, but were added in 1293, as work on the new cathedral of

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The frame around the doors, completed over a century later by the workshop of Lorenzo Ghiberti’s son Vittorio, show

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to mix gold threads with colored threads, creating a gleaming gold ground with a subtle painting-like image above.

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preserved, along with drawings showing their original arrangement. The altar inspired Brunelleschi’s altar for the

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and workshop, East doors of the Baptistery, the so-called “Gates of Paradise”, Museo dell'Opera del Duomo, Florence

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atop the dome was completed in 1150. It is the first known example of this element in the history of architecture.

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carved the present octagonal baptismal font (inscribed with the year 1370), which stands near the south entrance.

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The Baptistery is octagonal in plan, but finds directionality and a place for its altar thanks to the rectilinear

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claimed to have seen models Ghiberti made for a third set of doors that he hoped would replace Andrea Pisano’s.

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Horn, Walter (1943). "Romanesque Churches in Florence: A Study of Their Chronology and Stylistic Development".

1001: 932: 870: 861: 824: 624: 570: 352: 4265: 1885: 1675:. For example, the centrality of the creation of Eve in the first panel may refer to Antoninus’ idea that the 4291: 1023:. The architecture of this church would serve as an important influence for Renaissance architects including 5783: 5626: 5536: 5501: 5425: 5420: 5400: 5345: 5290: 5166: 5127: 2211: 2203: 1736:, who sought a theoretical framework for pictorial art in these years, ultimately enshrined in his treatise 1729: 837: 799: 778:

in Lucca, with ancient capitals and imitative medieval counterparts, and very likely a classicizing facade.

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Lorenzo Ghiberti's Gates of Paradise: Humanism, History, and Artistic Philosophy in the Italian Renaissance

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the Baptist and the Madonna and Child on either side. Boskovits emphasizes the quality of these mosaics:

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including Leonardo di Ser Giovanni began work on a new silver altar frontal with scenes from the life of

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On Holy Ground: Liturgy, Architecture and Urbanism in the Cathedral and the Streets of Medieval Florence

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closely imitate details of the scenes, showing how influential they (or the preparatory drawings) were.

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Painted cassone detail, showing the Baptistery in the early 15th century, with a sculptural group by

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Il battistero di San Giovanni, un enigma fiorentino: Studi, leggende e verità da Dante a Ken Follett

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From at least the 13th century, however, a silver panel covered the front of the altar. In 1366 the

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A Critical and Historical Corpus of Florentine Painting: The mosaics of the Baptistery of Florence

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Since 2023, the mosaic ceiling is once again under restoration, with completion expected in 2028.

1728:. Together they discovered how to meld different styles and to put into practice innovations like 5685: 5664: 5659: 5562: 5506: 5481: 5217: 5035: 3864: 2791: 2292:

Several important works besides the Silver Altar and Silver Cross discussed above are now in the

2281: 2063: 1500: 1097: 1043: 987: 946: 886: 807: 644: 438: 189: 73: 4798:

The Visual Culture of Baptism in the Middle Ages: Essays on Medieval Fonts, Settings and Beliefs

1900:’s 1911 reconstruction of the original 12th-century altar dismantled in 1731, using pieces that 17: 794:, and in a letter Gregory himself stated that the reach of the Church now exceeded that of the 5864: 5846: 5810: 5773: 5711: 5593: 5256: 5227: 5112: 4782: 4763: 4699: 3856: 3610: 2759:, all of which he dated to the mid-1270s. He compares, for example, the figure of Adam in the 2577: 2404: 2062:, are in the lowest section, and include an architectural structure similar to the lantern of 1905: 1880:

decor of the Baptistery was removed in the early 20th century, but a statue of the Baptist by

1877: 1717: 1692: 1688: 1109: 1105: 656: 494: 300: 253: 4742:

The Gates of Paradise: Lorenzo Ghiberti's Renaissance Masterpiece (High Museum of Art Series)

4088:

Bloch, Amy R. (2009). "Baptism and the frame of the south door of the Baptistery, Florence".

671:

An origin in this period would fit well with the historical context. In the 1060s, reformist

508:

The Baptistery is also renowned for the works of art with which it is adorned, including its

5778: 5706: 5325: 5278: 5050: 5040: 4978: 4097: 3908: 3848: 3755:

Timothy Verdon. "The Baptistery of San Giovanni: A Religious Monument Serving the City". In

3567:

Timothy Verdon. "The Baptistery of San Giovanni: A Religious Monument Serving the City". In

3508: 2724: 2693: 2675: 2400: 2141: 2071: 1947: 1943: 1920: 1805: 1776:

bird, accustomed to all the deceptions of the world, and remembering them half-humorously.”

1644: 1618: 1581: 1550: 1508: 1492: 1488: 1483: 1474: 1452: 1401: 1385: 1368: 1093: 916: 832: 779: 660: 648: 594: 521: 419: 399: 181: 4762:. Upper Saddle River London Singapore Toronto Tokyo Sydney Hong Kong Mexico City: Pearson. 1756: 5815: 5800: 5727: 5551: 5511: 5305: 5183: 5173: 5161: 5156: 5055: 5006: 2689: 2510: 2177: 2031: 1713: 1705: 1676: 1597: 1566: 1543: 1504: 1404:, fortitude, temperance, justice and prudence. The figures above them represent the three 1337: 1070: 983: 882: 695: 691: 470: 127: 1522:

signed a contract with the 25-year-old Ghiberti, who would lead a workshop that included

823:

Stylistic similarities suggest that a single architect may have designed the Baptistery,

3293: 2042:, it consists of a crucifix atop a monumental support that includes a representation of 1088:

During the Renaissance, new sculptural groups were commissioned: above the east door, a

5820: 5732: 5244: 4895: 4698:. Introduction by Kenneth Clark, photographs by David Finn. London: Thames and Hudson. 4009: 2079: 1851: 1831: 1821: 1785: 1746: 1680: 1668: 1630: 1397: 1376: 1372: 1117: 1096:

in 1505 (Baptist), continued by Vincenzo Danti in 1568-1569 (Christ), and completed by

1008: 890: 767: 672: 601: 486: 465:

to make room for grand-ducal celebrations, an act deplored by Florentines at the time.

457: 422:, it has been a focus of religious, civic, and artistic life since its completion. The 214: 158: 1069:

The cassone also shows the medieval decorative scheme, in which a group of statues by

5879: 5805: 5768: 5598: 5295: 5139: 5122: 5065: 3912: 3512: 2596: 1813: 1797: 1634: 1570: 1562: 1554: 1531: 1436: 1380: 1352: 1082: 803: 791: 703: 517: 475: 449: 3800:. Vol. 5. Florence: Stamperia di Pietro Gaetano Viviani. pp. xxxiii–xxxiv. 1784:

Several copies of the doors are held throughout the world. One such copy is held at

1054:

and given in gratitude to the Florentines in 1117 for protecting their city against

945:

enclosed a full-immersion basin, or that they held up a ring of columns like in the

782:’s 1073 consecration of Santa Maria in Portico in Rome is commemorated on its Roman 66: 5360: 5232: 5097: 2708:

while the New Testament registers below reflect a more naturalistic style close to

1660: 1558: 1451:

Lorenzo Ghiberti completed two sets of doors for the Baptistery. The art historian

1440: 1428: 1132:

has been replaced by a copy, the spaces above the other two doors now being empty.

1016: 920: 856: 795: 683: 554: 529: 525: 490: 415: 262: 4825:

Sacri simboli di luce: tarsie marmoree del periodo romanico a Firenze e in Toscana

1477:

and workshop, North doors of the Baptistery, Museo dell'Opera del Duomo, Florence

138: 5132: 4715:

Il Battistero di San Giovanni a Firenze. The Baptistery of San Giovanni Florence

2787: 2199: 1865: 1539: 1432: 1232: 787: 761:

South facade of Baptistery with monumental windows similar to Pantheon aedicules

620: 4832:

Tigler, Guido (2016). "Il Battistero e il Pantheon". In Verdon, Timothy (ed.).

5085: 5011: 3451: 2822:, shaded with delicate tonal passages, and enlivened with dazzling highlights! 2039: 1985: 1939: 1738: 1721: 1542:

a few years later. Ghiberti’s salary was equivalent to that of a manager of a

1527: 1420: 1333: 699: 562: 558: 537: 442: 426: 295: 154: 4933: 4920: 3860: 3467:

Cosimo I de' Medici and his Self-Representation in Florentine Art and Culture

2782:

modeling, the elaborate architectural settings, and details of the clothing.

1592:

In these doors Ghiberti and his workshop seem to move from a devotion to the

5435: 2806:

What severity of expression in the austere and emaciated physiognomy of the

2419: 2363: 2192: 2047: 1732:

and Masaccio’s monumental realism. There was likely also some exchange with

1725: 1700: 1588:

from the north doors of the Baptistery, Museo dell'Opera del Duomo, Florence

1523: 1364: 1332:

The three monumental sets of doors made for the Baptistery, masterpieces of

1039: 937:

which would not remain standing if the chancel were not to exist". Thus the

533: 453: 266: 4807:

Archaeological Campaigns Below the Florence Duomo and Baptistery, 1895-1980

2180:

from c. 1096 and to the lower level of the facade of San Miniato al Monte.

1651:

from the east doors of the Baptistery, Museo dell'Opera del Duomo, Florence

1915:

melted it down to start a more sumptuous work. Artists from the circle of

5001: 4982: 2670:

designed the best parts of this scene, including the revolting figure of

2604: 2384: 2304: 2284:

disc inset in the southeast section of the pavement just before baptism.

1535: 1388:

was trusted with oversight of the project, as he later recalled proudly.

1063: 991: 407: 103: 5195: 1962:

Silver altar of San Giovanni, 1366–1483 (now Museo dell’Opera del Duomo)

1415:

Andrea Pisano, The funeral of St. John the Baptist, from the south doors

1046:

columns on either side of the “Gates of Paradise” were plundered by the

3868: 3836: 2857: 2838: 2720: 2709: 2585: 2565: 2564:(no. 434); an altarpiece dedicated to St. Francis in the Museo Civico, 2043: 1931: 1916: 1664: 1059: 1051: 1012: 962: 900: 746: 509: 479: 423: 278: 107: 4947: 4101: 2517: 802:, according to which the pope inherited the temporal authority of the 5178: 2768: 2561: 1809: 1684: 1393: 845: 687: 679: 664: 573:, was once also referred to as the church of Saint John the Baptist. 513: 364: 258: 4890: 3852: 1764: 786:, a pagan altar, inscribed and repurposed for Christian use (now in 3798:

Notizie istoriche delle chiese fiorentine divise ne' suoi quartieri

3292: 3106: 2920: 2671: 2600: 2516: 2206:. The cover connects the sarcophagus to the Medici family and the 2145: 2075: 2067: 1864: 1841: 1763: 1755: 1750: 1639: 1613: 1576: 1469: 1410: 1346: 1055: 1020: 977: 899: 855: 575: 411: 2818:. What attention to characterising the sharp and intense face of 2210:, and it is believed to hold the remains of Guccio de’ Medici, a 926:

Excavations show that the building originally had a semicircular

749:

before later changes to upper level) showing niches and aedicules

4347:, life of Lorenzo Ghiberti, translated by Mrs. Jonathan Foster. 3552:, life of Lorenzo Ghiberti, translated by Mrs. Jonathan Foster. 2509:

The Baptistery is crowned by a magnificent mosaic ceiling in an

2388: 1047: 927: 771: 675: 652: 4951: 4048:

Andrea Pisano und die toskanische Skulptur des 14. Jahrhunderts

2876:

Christ, St. Peter, and St. Paul from triumphal arch leading to

1862:

is ornamented with extensive geometric and figurative designs.

553:

Florentines once believed that the Baptistery was originally a

448:

Florentine infants were originally baptized in large groups on

4266:"Plaster Casts - Vassar College Encyclopedia - Vassar College" 2380: 1058:

while the Pisan fleet was conquering the island. As a painted

889:. The eight-sidedness of these structures was significant. As 501:, it was a near-perfect building that inspired his studies of 485:

The architecture of the Baptistery takes inspiration from the

2311:

Fragments from Romanesque baptismal font and enclosing screen

1792:, New York. Another copy, made in the 1940s, is installed in 4477:, pp. 21–22, 142 discusses a famous inscription in the 3607:

Romanesque Architecture: The First Style of the European Age

4482:

or is concealed above the second, reinforcing vault of the

3507:

The comparison is made by the fourteenth-century historian

2250:

Fourth-century sarcophagus with cover bearing Medici emblem

2034:, nearly 2 meters tall, was displayed. Commissioned by the 1073:

surmounted each door. The surviving statues are now in the

4128: 4126: 4113: 4111: 4012:’s account that the doors were moved from the east portal. 3935: 3933: 2058:. The most artistically significant parts of the work, by 1219:

Sarcophagus fragment incorporated into Baptistery exterior

1177:

Andrea Sansovino, Vincenzo Danti, and Innocenzo Spinazzi,

524:

led the workshops that sculpted the north and east doors.

4065:. Cambridge: Cambridge University Press. pp. 12, 30. 2086:

Silver Cross, begun 1457 (now Museo dell’Opera del Duomo)

844:, could possibly indicate that the architect had been to 4852:

Mitteilungen des Kunsthistorischen Institutes in Florenz

4670:

Mitteilungen des Kunsthistorischen Institutes in Florenz

4657:

Mitteilungen des Kunsthistorischen Institutes in Florenz

2810:

What moving and timorous pathos in the youthful face of

1625:

No sooner were the first set of doors complete than the

1011:. Several different marbles are used, principally white 3483:

Paradiso, Canto XXV, lines 8-9, Mandelbaum translation.

1930:

About the same time, sculptors from the same milieu of

4753:. London; Turnhout: Harvey Miller Publishers; Brepols. 2128:

with seated John the Baptist, viewed by adoring angels

1503:, are usually considered to mark the beginning of the 5886:

11th-century Roman Catholic church buildings in Italy

4655:

Horn, Walter (1938). "Das Florentiner Baptisterium".

3380:

History of medieval Arabic and Western European domes

2727:. Boskovits detected his hand in the episodes of the 2030:

Atop the Silver Altar, a precious work in silver and

1745:

One of the most impressive panels tells the story of

1487:

asked seven Tuscan sculptors to make a relief of the

806:, justifying his equality with or supremacy over the 4317:"Gates of Paradise to be Installed at Nelson-Atkins" 3412:, pp. 80–92. Further on the original font, see 2238:

Sarcophagus of Bishop Giovanni da Velletri (d. 1230)

1768:

Ghiberti self-portrait about two decades later from

5829: 5761: 5720: 5699: 5678: 5635: 5607: 5576: 5525: 5474: 5454: 5316: 5210: 5203: 4989: 4882:

Brunelleschi & Ghiberti, The Sacrifice of Isaac

4870: 1439:fighting, below flowers and fruits symbolic of the 1108:(1506-11), strongly influenced by Rustici’s friend 370: 360: 345: 337: 329: 319: 310: 294: 289: 277: 272: 252: 244: 236: 228: 223: 213: 201: 196: 176: 164: 150: 145: 133: 121: 113: 99: 37: 2439:Museum display of the vestment scenes designed by 600:the Baptistery in 1059; according to the other, a 469:achievement like victory in festival horse races. 4843:Firenze prima di Arnolfo: retroterra di grandezza 4834:Firenze prima di Arnolfo: retroterra di grandezza 3497:. Florence: Pontecorboli Editore. pp. 45–50. 3432:Anna Maria Giusti. "The Baptistery Pavement". In 2712:, identifiable with the painter of a crucifix at 1888:remains in the niche to the left of the chancel. 1042:, the stone used for the building structure. The 3953:"Polo Museale Fiorentino - Catalogo delle opere" 3609:. New Haven: Yale University Press. p. 90. 3032:Presentation of St John's head to Herod Antipas. 2198:In the niche to the left of the chancel are two 1800:; copies of the doors were also crafted for the 1659:The stories depicted begin with the Creation of 1633:a program for another set with stories from the 815:foreign to the severe interior of the Pantheon. 790:, Rome). Church poetry compared Pope Gregory to 678:accused bishop Pietro Mezzabarba of Florence of 584:, opposite the Cathedral and Giotto's Campanile. 3837:"A Baptistery below the Baptistery of Florence" 3783:Illuminations: Studies Presented to Lioba Theis 2763:with the bust of the Christ child in Cimabue’s 2704:, patron saint of the church and the city (7). 798:. The Church at this time also believed in the 770:support the hypothesis of the involvement of a 561:, or a remnant of the city’s rebirth after the 4717:(in Italian and English). Modena: F.C. Panini. 3563: 3561: 2497:The Baptist preaches before Herod and his wife 2070:supporting adoring angels; and reliefs of the 1363:In the 1320s, the powerful guild that had the 1124:(1569-70). Today, all three groups are in the 4963: 2005:Christ Visiting the Baptist in the Wilderness 904:Lantern of the Baptistery, completed c. 1150. 52: 8: 4758:Hartt, Frederick; Wilkins, David G. (2011). 4240: 4204: 4192: 3685:. Florence: Angelo Pontecorboli. p. 31. 3632:Studi e ricerche di storia dell'architettura 3495:Le mura di Firenze da Arnolfo a Michelangelo 2757:Young St. John the Baptist in the Wilderness 580:The Baptistery from the northwest, with the 4809:. London; Turnhout: Harvey Miller; Brepols. 4144: 3785:. Vienna: Phoibos Verlag. pp. 135–142. 2322:Fragments in the Museo dell'Opera del Duomo 930:. Giuseppe Richa recorded that the present 766:The references the Baptistery makes to the 520:led the creation of the south doors, while 5207: 4970: 4956: 4948: 4777:Giusti, Annamaria; Radke, Gary M. (2012). 3448:The Baptistery of San Giovanni in Florence 2334:Fragment in the Museo dell'Opera del Duomo 2109:Betto di Francesco, Golgotha and Jerusalem 34: 4827:(in Italian). Empoli: Editori dell'Acero. 4639: 4627: 4615: 4603: 4591: 4579: 4567: 4555: 4543: 4531: 4519: 4507: 4495: 4474: 4470: 4446: 3822: 1518:In November 1403, representatives of the 1136:Sculptural groups made for the Baptistery 1100:in 1792 (angel); above the north door, a 5071:Museo Nazionale Alinari della Fotografia 4818:. Cambridge: Cambridge University Press. 4458: 4395: 4383: 4371: 4359: 4252: 4216: 4180: 4168: 4156: 4132: 4117: 4075: 4033: 4021: 4008:, p. 96. Scholars no longer credit 3993: 3981: 3969: 3939: 3924: 3896: 3810: 3768: 3756: 3743: 3719: 3707: 3695: 3676: 3664: 3648: 3568: 3536: 3433: 3397: 3164:Jesus walking on water and saving Peter. 2038:in 1457 probably to hold a relic of the 1214: 4781:(in Italian). Firenze: Giunti Editore. 4063:The Sculpture of Andrea and Nino Pisano 3390: 2825: 2609: 2409: 2309: 2216: 2084: 1960: 1760:Ghiberti self-portrait from North doors 1237: 1227:Incorporated into the revetment of the 1134: 941:may actually date shortly before 1150. 708: 4867: 4422: 3731: 3592: 3580: 3158:Chasing the merchants from the Temple. 1466:North Doors of the Florence Baptistery 1085:possibly sharing the same provenance. 4434: 4292:"Architecture of the Harris building" 4228: 4005: 3524: 3409: 655:with whom they were closely aligned, 369: 359: 344: 336: 328: 318: 309: 7: 3884:Battistero di San Giovanni a Firenze 3660: 2078:flanked by Faith and Hope, and four 1549:Above eight panels representing the 5916:Romanesque architecture in Florence 5911:Roman Catholic churches in Florence 5081:Museo di Storia Naturale di Firenze 3886:. Florence: Polistampa. p. 30. 2862:The Birth and Naming of the Baptist 2303:and the Church of San Francesco in 5218:Cathedral of Santa Maria del Fiore 4760:History of Italian Renaissance Art 4412:. Florence: Bemporad. p. 670. 4290:Buchanan, Alan (16 October 2019). 3044:Transport of the body of St. John. 2658:Coppo di Marcovaldo and workshop, 2543:Stories from the Book of Genesis. 1938:niche of the new altar, for which 1629:requested from the great humanist 842:Basilica of San Salvatore, Spoleto 505:and his approach to architecture. 25: 4061:Moskowitz, Anita Fiderer (1987). 3298:East doors, the Gates of Paradise 3038:Salome takes the head to Herodias 2996:St John reprimands Herod Antipas. 2936:The angel announces to Zachariah. 2595:Christ presides over an enormous 2162:, Moses flanked by Faith and Hope 1663:and end with the meeting of King 840:, also seen on the facade of the 635:Historic collaboration hypothesis 5194: 4876: 4050:. Munich: Bruckmann. p. 24. 2960:Zachariah writes the boy's name. 2884: 2869: 2850: 2831: 2700:and Christ (6); and the life of 2651: 2643:Master of the Crucifix no. 434, 2636: 2631:Ceiling center (oldest sections) 2624: 2612: 2599:, its tiles put in place during 2555:Stories of St. John the Baptist. 2485: 2480:, earlier phase (closer to 1466) 2466: 2461:, earlier phase (closer to 1466) 2447: 2432: 2412: 2351: 2339: 2327: 2315: 2288:Works formerly in the Baptistery 2255: 2243: 2231: 2226:Tomb of Bishop Ranieri (d. 1113) 2219: 2195:was a first in the Renaissance. 2152: 2133: 2114: 2102: 2090: 2011: 1996: 1978: 1966: 1610:East doors (“Gates of Paradise”) 1312: 1297: 1282: 1267: 1255: 1243: 1200: 1185: 1170: 1155: 1140: 754: 738: 726: 714: 82: 65: 18:Baptistery of Florence Cathedral 4896:Over-saturated pictures of the 4726:(in Italian). Milan: Jaca Book. 4713:Paolucci, Antonio, ed. (1994). 3681:Degl’Innocenti, Pietro (2019). 3362:Solomon and the Queen of Sheba. 2753:Birth and Naming of the Baptist 2570:Princeton University Art Museum 2050:and cast figures of a mourning 909:Construction and pre-existences 733:Baptistery interior with niches 710:The Baptistery and the Pantheon 149: 5093:National Archaeological Museum 2745:False Report of Joseph’s Death 2568:; and a small triptych in the 2499:, later phase (closer to 1475) 1569:, the life of Christ from the 1340:art, are now preserved in the 1038:began. They covered blocks of 986:above the southern portal and 745:Pantheon interior (drawing by 686:, they no longer accepted the 516:doors with relief sculptures. 406:), is a religious building in 1: 5543:British Institute of Florence 4836:. Mandragora. pp. 35–53. 4823:Matteuzzi, Nicoletta (2016). 4696:The Florence Baptistery Doors 3882:Pietramellara, Carla (1973). 3008:The disciples visit St. John. 2972:He preaches to the Pharisees. 2966:St John as boy in the desert. 990:columns in Piazza del Duomo. 27:Baptistery in Florence, Italy 5108:Palazzo dell'Arte dei Beccai 5076:Museo Nazionale di San Marco 4845:. Mandragora. pp. 7–33. 3182:Entry of Jesus in Jerusalem. 2584:. Meliore likely also drew 2551:Stories of Mary and Christ. 2459:Zacchariah leaves the temple 1192:Giovanni Francesco Rustici, 1116:; and above the south door, 1114:depicted the subject himself 992:Museo Nazionale del Bargello 5906:Octagonal churches in Italy 5411:S Maria Maddalena dei Pazzi 5356:Oratory of S Thomas Aquinas 4322:Nelson-Atkins Museum of Art 3465:Van Veen, Henk Th. (2013). 3446:Giusti, Anna Maria (2000). 2741:Joseph Sold by His Brothers 2619:13th-century mosaic ceiling 2263:Tomb of Antipope John XXIII 2185:tomb of Antipope John XXIII 1942:cast the central figure of 1906:Old Sacristy of San Lorenzo 1826:Nelson-Atkins Museum of Art 1443:that baptism could remove. 810:in Germany. If interest in 324:Historic Centre of Florence 232:37.0 m (121.4 ft) 5932: 5842:Maggio Musicale Fiorentino 5558:Kunsthistorisches Institut 5396:S Giovannino dei Cavalieri 5391:S Giovannino degli Scolopi 5351:Oratory of Gesù Pellegrino 5331:Battistero di San Giovanni 5301:Bartolini Salimbeni Chapel 5192: 5061:Museo dell'Opera del Duomo 4904:The Baptistery of Florence 4731:Boskovits, Miklós (2007). 4408:Davidsohn, Robert (1929). 4046:Kreytenberg, Gert (1984). 3957:www.polomuseale.firenze.it 3471:Cambridge University Press 3014:The disciples visit Jesus. 3002:Incarceration of St. John. 2918: 2827:Additional works in mosaic 2522:Plan of the mosaic ceiling 2301:Museo dell’Opera del Duomo 2294:Museo dell’Opera del Duomo 2003:14th-century silversmith, 1925:Museo dell’Opera del Duomo 1828:in Kansas City, Missouri. 1780:Copies and unexecuted work 1463: 1396:in the recently-completed 1359:Andrea Pisano: South doors 1342:Museo dell’Opera del Duomo 1126:Museo dell’Opera del Duomo 1075:Museo dell’Opera del Duomo 593:(1684). According to one, 404:Battistero di San Giovanni 313:UNESCO World Heritage Site 54:Battistero di San Giovanni 5855: 5837:Calcio storico fiorentino 4875: 4694:Robinson, George (1980). 4410:Firenze ai tempi di Dante 4270:vcencyclopedia.vassar.edu 3332:Isaac with Esau and Jacob 3140:Dispute with the doctors. 3026:Decapitation of St. John. 2984:Baptism of his disciples. 2843:The Rebuke of the Creator 2183:Nearby is the monumental 2172:Just to the right of the 1892:Altars and baptismal font 1231:is a fragment of a Roman 1015:marble and a green-black 879:Battistero Paleocristiano 706:, as canon law required. 659:(d. 1073) or more likely 610:Firenze città nobilissima 591:Firenze città nobilissima 384: 380: 306: 240:32.5 m (107 ft) 47: 42: 5748:Orto Botanico di Firenze 5568:National Central Library 5103:Ospedale degli Innocenti 5046:Loggia del Mercato Nuovo 4906:on MuseumsinFlorence.com 4805:Toker, Franklin (2013). 4749:Toker, Franklin (2009). 4744:. Yale University Press. 4510:, pp. 117, 156–158. 4374:, pp. 415, 556–557. 4241:Hartt & Wilkins 2011 4205:Hartt & Wilkins 2011 4193:Hartt & Wilkins 2011 3835:Toker, Franklin (1976). 3796:Richa, Giuseppe (1757). 3176:Resurrection of Lazarus. 2942:Zachariah is struck mute 2913:Subjects of door reliefs 2678:describes this section: 2023:Beheading of the Baptist 1209:Beheading of the Baptist 1122:Beheading of the Baptist 776:Sant'Alessandro Maggiore 631:, datable to 1077-1115. 396:Baptistery of Saint John 375:Europe and North America 43:Baptistery of Saint John 32:Church in Tuscany, Italy 5650:Piazza della Repubblica 5537:Palazzo Medici Riccardi 5346:Oratorio dei Vanchetoni 5167:Studiolo of Francesco I 5128:Palazzo Medici Riccardi 5017:Galleria dell'Accademia 4934:43.773224°N 11.254602°E 4145:Giusti & Radke 2012 3493:Manetti, Renzo (2024). 2737:Expulsion from Paradise 2532:The Kingdom of Heaven. 2212:Gonfaloniere of Justice 2204:Palazzo Medici Riccardi 1923:, now displayed in the 1856:Piazza della Repubblica 1596:style to an embrace of 1586:Flagellation of Christ, 1553:and the Church Fathers 1367:of the Baptistery, the 800:Donation of Constantine 284:Archdiocese of Florence 248:39 m (128 ft) 5533:Biblioteca Riccardiana 5431:S Salvatore al Vescovo 5381:S Frediano in Cestello 5145:Museo delle Porcellane 4912:, Smithsonian Magazine 4814:Bloch, Amy R. (2016). 4722:Tigler, Guido (2006). 3366: 3288: 3134:Adoration of the magi. 3102: 2824: 2702:Saint John the Baptist 2685: 2556: 2493:Antonio del Pollaiuolo 2474:Antonio del Pollaiuolo 2455:Antonio del Pollaiuolo 2441:Antonio del Pollaiuolo 2397:Antonio del Pollaiuolo 2160:Antonio del Pollaiuolo 2122:Antonio del Pollaiuolo 2060:Antonio del Pollaiuolo 1990:Saint John the Baptist 1952:Antonio del Pollaiuolo 1902:Antonio Francesco Gori 1873: 1847: 1824:; and in 2017 for the 1772: 1761: 1652: 1622: 1589: 1478: 1416: 1355: 1220: 1029:Leone Battista Alberti 995: 905: 885:and the fifth-century 865: 860:Octagonal plan with a 585: 512:and its three sets of 463:Francesco I de' Medici 403: 171:Saint John the Baptist 53: 5896:Catholic baptisteries 5891:Baptisteries in Italy 5860:Districts of Florence 5830:Events and traditions 5670:Piazzale Michelangelo 5655:Piazza della Signoria 5421:S Martino del Vescovo 4910:The Gates of Paradise 4779:La porta del paradiso 3605:Fernie, Eric (2014). 3296: 3110: 2954:Birth of the Baptist. 2924: 2891:Mosaic decoration of 2804: 2761:Rebuke of the Creator 2749:Joseph Led into Egypt 2733:Rebuke of the Creator 2680: 2520: 2478:Arrest of the Baptist 2056:Saint John Evangelist 2019:Andrea del Verrocchio 1956:Andrea del Verrocchio 1886:Cosimo III de' Medici 1868: 1845: 1767: 1759: 1734:Leon Battista Alberti 1643: 1617: 1580: 1473: 1414: 1350: 1218: 1036:Santa Maria del Fiore 981: 903: 874:on its western side. 859: 579: 89:Partial interior view 5794:del Poggio Imperiale 5789:Medicea L'Ambrogiana 5622:Teatro della Pergola 5406:S Maria degli Angeli 5336:Certosa del Galluzzo 5152:Palazzo Spini Feroni 5031:Garden of Archimedes 4939:43.773224; 11.254602 4740:Radke, Gary (2007). 4486:that is now visible. 4345:Lives of the Artists 3734:, pp. 163, 291. 3550:Lives of the Artists 3242:St. John Evangelist. 3212:Jesus before Pilate. 3194:Agony in the Garden. 3152:Temptation of Christ 2978:He announces Christ. 2776:Montelupo Fiorentino 2714:San Miniato al Monte 2590:Pieve of San Leolino 2574:Battle of Montaperti 2358:Fragment in Sarteano 2346:Fragment in Sarteano 2277:San Miniato al Monte 2168:Sepulchral monuments 1898:Giuseppe Castellucci 1594:International Gothic 1497:Filippo Brunelleschi 1262:Serpentinite capital 1025:Filippo Brunelleschi 974:Design and adornment 951:Santo Sepolcro, Pisa 829:San Miniato al Monte 647:, the rulers of the 641:Beatrice of Lorraine 629:San Miniato al Monte 614:Salvino degli Armati 499:Filippo Brunelleschi 394:, also known as the 186:Beatrice of Lorraine 5753:Parco delle Cascine 5743:Giardino delle Rose 5584:Fountain of Neptune 5548:Gabinetto Vieusseux 5274:S Maria del Carmine 5118:Palazzo Della Stufa 4930: / 4800:. Farnham: Ashgate. 4735:. Florence: Giunti. 4618:, pp. 251–254. 4606:, pp. 240–250. 4594:, pp. 216–223. 4582:, pp. 198–203. 4570:, pp. 178–188. 4558:, pp. 167–178. 4546:, pp. 310–311. 4534:, pp. 163–167. 4522:, pp. 159–163. 4498:, pp. 143–156. 4461:, pp. 554–555. 4243:, pp. 250–251. 4024:, pp. 149–151. 3595:, pp. 137–145. 3300:(Lorenzo Ghiberti): 3114:(Lorenzo Ghiberti): 2668:Coppo di Marcovaldo 2582:Coppo di Marcovaldo 2547:Stories of Joseph. 2064:Brunelleschi’s Dome 1882:Giuseppe Piamontini 1406:theological virtues 1379:150 years earlier. 435:Piazza San Giovanni 429:stands in both the 414:. Dedicated to the 392:Florence Baptistery 139:Florence Baptistery 38:Florence Baptistery 5738:Giardino dell'Iris 5691:Via de' Tornabuoni 5665:Piazza San Lorenzo 5660:Piazza Santa Croce 5589:Giotto's Campanile 5563:Laurentian Library 5517:Giotto's Campanile 5446:S Stefano al Ponte 5401:S Jacopo sopr'Arno 5286:S Miniato al Monte 5036:Loggia del Bigallo 4473:, pp. 23–24. 4398:, p. 558–559. 4386:, p. 556–557. 3746:, pp. 23, 27. 3663:, p. 142 and 3367: 3289: 3218:Ascent to Calvary. 3146:Baptism of Christ. 3103: 2792:Lippo di Benivieni 2696:(5); the lives of 2557: 2425:Penitent Magdalene 2369:Penitent Magdalene 1874: 1848: 1773: 1762: 1730:linear perspective 1653: 1623: 1590: 1501:Museo del Bargello 1489:Sacrifice of Isaac 1479: 1417: 1356: 1221: 1098:Innocenzo Spinazzi 996: 947:Lateran Baptistery 906: 887:Lateran Baptistery 881:excavated beneath 866: 808:Holy Roman Emperor 721:Pantheon interior 645:Matilda of Tuscany 586: 549:State of knowledge 439:Florence Cathedral 361:Reference no. 341:i, ii, iii, iv, vi 190:Matilda of Tuscany 74:Florence Cathedral 5873: 5872: 5865:Trams in Florence 5847:Scoppio del carro 5721:Gardens and parks 5712:Fortezza da Basso 5594:Monument to Dante 5502:dei Gianfigliazzi 5470: 5469: 5441:Ss Simone e Giuda 5257:Tornabuoni Chapel 5228:Baroncelli Chapel 5113:Palazzo Davanzati 4898:Gates of Paradise 4891:Walks in Florence 4887: 4886: 4788:978-88-09-77427-8 4769:978-0-205-70581-8 4325:. 28 January 2017 4102:10.3828/sj.18.1.3 4090:Sculpture Journal 3996:, pp. 7, 32. 3825:, pp. 17–19. 3771:, pp. 27–28. 3722:, pp. 33–38. 3710:, pp. 21–24. 3616:978-0-300-20354-7 3571:, pp. 54–56. 3473:. pp. 44–45. 3371: 3370: 2990:Baptism of Jesus. 2692:(4); the life of 2645:Christ in Majesty 2578:Meliore di Jacopo 2405:Luca della Robbia 2401:Baptism of Christ 2187:by Donatello and 2142:Baptism of Christ 2072:Baptism of Christ 1869:View of altar in 1770:Gates of Paradise 1718:Luca della Robbia 1693:David and Goliath 1689:Battle of Jericho 1194:Baptist Preaching 1179:Baptism of Christ 1162:Tino di Camaino, 1149:Baptism of Christ 1147:Tino di Camaino, 1130:Baptism of Christ 1110:Leonardo da Vinci 1106:Francesco Rustici 1102:Baptist Preaching 1090:Baptism of Christ 919:records that the 657:Pope Alexander II 651:, and one of the 643:and her daughter 530:funerary monument 388: 387: 356: 301:Gherardo Gambelli 177:Associated people 16:(Redirected from 5923: 5901:Individual doors 5645:Piazza del Duomo 5416:S Maria Maggiore 5326:Badia Fiorentina 5279:Brancacci Chapel 5208: 5198: 5051:Loggia del Pesce 5041:Loggia dei Lanzi 4972: 4965: 4958: 4949: 4945: 4944: 4942: 4941: 4940: 4935: 4931: 4928: 4927: 4926: 4923: 4880: 4879: 4868: 4859: 4846: 4837: 4828: 4819: 4810: 4801: 4792: 4773: 4754: 4745: 4736: 4727: 4724:Toscana romanica 4718: 4709: 4690: 4677: 4664: 4643: 4637: 4631: 4625: 4619: 4613: 4607: 4601: 4595: 4589: 4583: 4577: 4571: 4565: 4559: 4553: 4547: 4541: 4535: 4529: 4523: 4517: 4511: 4505: 4499: 4493: 4487: 4468: 4462: 4456: 4450: 4444: 4438: 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3462: 3456: 3455: 3443: 3437: 3430: 3424: 3423: 3407: 3401: 3395: 3200:Christ captured. 3170:Transfiguration. 3020:Dance of Salome. 2928:(Andrea Pisano): 2917: 2916: 2888: 2873: 2854: 2835: 2751:(possibly), the 2725:Miklós Boskovits 2676:Miklós Boskovits 2655: 2640: 2628: 2616: 2537:Choirs of Angels 2528:Last Judgement. 2489: 2470: 2451: 2436: 2416: 2377:Arte di Calimala 2355: 2343: 2331: 2319: 2259: 2247: 2235: 2223: 2156: 2137: 2118: 2106: 2094: 2036:Arte di Calimala 2015: 2000: 1982: 1970: 1948:Bernardo Cennini 1944:John the Baptist 1921:John the Baptist 1913:Arte di Calimala 1806:Saint Petersburg 1645:Lorenzo Ghiberti 1627:Arte di Calimala 1619:Lorenzo Ghiberti 1582:Lorenzo Ghiberti 1551:Four Evangelists 1507:in Western art. 1484:Arte di Calimala 1475:Lorenzo Ghiberti 1453:Antonio Paolucci 1447:Lorenzo Ghiberti 1402:cardinal virtues 1386:Giovanni Villani 1369:Arte di Calimala 1316: 1301: 1286: 1276:Arte di Calimala 1271: 1259: 1247: 1239:Exterior details 1207:Vincenzo Danti, 1204: 1189: 1174: 1159: 1144: 1094:Andrea Sansovino 917:Giovanni Villani 852:Octagonal design 833:Pope Gregory VII 780:Pope Gregory VII 758: 742: 730: 718: 694:in front of the 661:Pope Gregory VII 649:March of Tuscany 595:Pope Nicholas II 522:Lorenzo Ghiberti 456:in a five-basin 431:Piazza del Duomo 420:John the Baptist 350: 182:Pope Gregory VII 180:Bishop Ranieri, 141: 86: 72:Facade opposite 69: 56: 35: 21: 5931: 5930: 5926: 5925: 5924: 5922: 5921: 5920: 5876: 5875: 5874: 5869: 5851: 5825: 5757: 5728:Bardini Gardens 5716: 5695: 5674: 5631: 5617:Teatro Comunale 5603: 5572: 5552:Palazzo Strozzi 5521: 5497:dei Della Bella 5492:dei Belfredelli 5466: 5462:Great Synagogue 5450: 5312: 5306:Sassetti Chapel 5252:S Maria Novella 5204:Religious sites 5199: 5190: 5184:Vasari Corridor 5174:Stibbert Museum 5162:Palazzo Vecchio 5157:Palazzo Strozzi 5056:Loggia Rucellai 5007:Casa Buonarroti 4994: 4985: 4976: 4938: 4936: 4932: 4929: 4924: 4921: 4919: 4917: 4916: 4877: 4871:External videos 4866: 4849: 4840: 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1567:Saint Augustine 1468: 1462: 1449: 1435:and the infant 1361: 1351:South doors by 1330: 1323: 1317: 1308: 1302: 1293: 1289:Female face on 1287: 1278: 1272: 1263: 1260: 1251: 1248: 1211: 1205: 1196: 1190: 1181: 1175: 1166: 1160: 1151: 1145: 1071:Tino di Camaino 984:Tino di Camaino 976: 971: 911: 883:Milan Cathedral 854: 821: 762: 759: 750: 743: 734: 731: 722: 719: 696:Badia a Settimo 637: 589:Del Migliore’s 551: 546: 471:Dante Alighieri 315: 137: 128:Catholic Church 95: 94: 93: 92: 91: 90: 87: 78: 77: 76: 70: 59: 33: 28: 23: 22: 15: 12: 11: 5: 5929: 5927: 5919: 5918: 5913: 5908: 5903: 5898: 5893: 5888: 5878: 5877: 5871: 5870: 5868: 5867: 5862: 5856: 5853: 5852: 5850: 5849: 5844: 5839: 5833: 5831: 5827: 5826: 5824: 5823: 5818: 5813: 5808: 5803: 5798: 5797: 5796: 5791: 5786: 5781: 5776: 5765: 5763: 5759: 5758: 5756: 5755: 5750: 5745: 5740: 5735: 5733:Boboli Gardens 5730: 5724: 5722: 5718: 5717: 5715: 5714: 5709: 5703: 5701: 5697: 5696: 5694: 5693: 5688: 5682: 5680: 5676: 5675: 5673: 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4014: 4010:Giorgio Vasari 3998: 3986: 3984:, p. 411. 3974: 3972:, p. 543. 3962: 3944: 3942:, p. 404. 3929: 3927:, p. 401. 3917: 3901: 3889: 3874: 3847:(2): 157–167. 3827: 3823:Boskovits 2007 3815: 3803: 3788: 3773: 3761: 3748: 3736: 3724: 3712: 3700: 3688: 3669: 3653: 3641: 3622: 3615: 3597: 3585: 3583:, p. 134. 3573: 3557: 3541: 3529: 3517: 3500: 3485: 3476: 3457: 3438: 3436:, p. 373. 3425: 3416:Rivista d'Arte 3402: 3389: 3387: 3384: 3383: 3382: 3375: 3372: 3369: 3368: 3364: 3363: 3357: 3351: 3345: 3339: 3333: 3327: 3321: 3315: 3309: 3302: 3290: 3286: 3285: 3284:St. Augustine. 3279: 3273: 3267: 3261: 3255: 3249: 3243: 3237: 3231: 3225: 3219: 3213: 3207: 3201: 3195: 3189: 3183: 3177: 3171: 3165: 3159: 3153: 3147: 3141: 3135: 3129: 3123: 3116: 3104: 3100: 3099: 3093: 3087: 3081: 3075: 3069: 3063: 3057: 3051: 3045: 3039: 3033: 3027: 3021: 3015: 3009: 3003: 2997: 2991: 2985: 2979: 2973: 2967: 2961: 2955: 2949: 2943: 2937: 2930: 2914: 2911: 2909: 2906: 2898: 2897: 2890: 2883: 2881: 2875: 2868: 2866: 2856: 2849: 2847: 2837: 2830: 2828: 2664: 2663: 2657: 2650: 2648: 2642: 2635: 2633: 2630: 2623: 2621: 2618: 2611: 2603:’s childhood. 2506: 2505:Mosaic ceiling 2503: 2502: 2501: 2491: 2484: 2482: 2472: 2465: 2463: 2453: 2446: 2444: 2438: 2431: 2429: 2418: 2411: 2361: 2360: 2357: 2350: 2348: 2345: 2338: 2336: 2333: 2326: 2324: 2321: 2314: 2312: 2289: 2286: 2272: 2269: 2268: 2267: 2261: 2254: 2252: 2249: 2242: 2240: 2237: 2230: 2228: 2225: 2218: 2169: 2166: 2165: 2164: 2158: 2151: 2149: 2140:Relief of the 2139: 2132: 2130: 2120: 2113: 2111: 2108: 2101: 2099: 2096: 2089: 2087: 2080:Church Fathers 2028: 2027: 2017: 2010: 2008: 2002: 1995: 1993: 1984: 1977: 1975: 1972: 1965: 1963: 1893: 1890: 1839: 1836: 1832:Giorgio Vasari 1822:United Kingdom 1786:Vassar College 1781: 1778: 1747:Jacob and Esau 1681:Jacob and Esau 1669:Queen of Sheba 1647:and workshop, 1631:Leonardo Bruni 1611: 1608: 1584:and workshop, 1464:Main article: 1461: 1458: 1448: 1445: 1398:Peruzzi Chapel 1377:Bonanno Pisano 1373:Pisa Cathedral 1360: 1357: 1329: 1326: 1325: 1324: 1318: 1311: 1309: 1303: 1296: 1294: 1288: 1281: 1279: 1274:Symbol of the 1273: 1266: 1264: 1261: 1254: 1252: 1250:Marble capital 1249: 1242: 1240: 1224:architecture. 1213: 1212: 1206: 1199: 1197: 1191: 1184: 1182: 1176: 1169: 1167: 1161: 1154: 1152: 1146: 1139: 1137: 1118:Vincenzo Danti 975: 972: 970: 967: 910: 907: 891:Timothy Verdon 853: 850: 825:Santi Apostoli 820: 817: 764: 763: 760: 753: 751: 744: 737: 735: 732: 725: 723: 720: 713: 711: 636: 633: 625:Santi Apostoli 602:baptismal font 571:Santa Reparata 550: 547: 545: 542: 478:prophesied by 458:baptismal font 386: 385: 382: 381: 378: 377: 372: 368: 367: 362: 358: 357: 347: 343: 342: 339: 335: 334: 331: 327: 326: 321: 317: 316: 311: 308: 307: 304: 303: 298: 292: 291: 287: 286: 281: 275: 274: 273:Administration 270: 269: 256: 250: 249: 246: 242: 241: 238: 234: 233: 230: 226: 225: 224:Specifications 221: 220: 217: 215:Groundbreaking 211: 210: 205: 199: 198: 194: 193: 192:(hypothesized) 178: 174: 173: 168: 162: 161: 159:minor basilica 152: 148: 147: 143: 142: 135: 131: 130: 125: 119: 118: 115: 111: 110: 101: 97: 96: 88: 81: 80: 79: 71: 64: 63: 62: 61: 60: 58: 57: 49: 48: 45: 44: 40: 39: 31: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 5928: 5917: 5914: 5912: 5909: 5907: 5904: 5902: 5899: 5897: 5894: 5892: 5889: 5887: 5884: 5883: 5881: 5866: 5863: 5861: 5858: 5857: 5854: 5848: 5845: 5843: 5840: 5838: 5835: 5834: 5832: 5828: 5822: 5819: 5817: 5814: 5812: 5809: 5807: 5804: 5802: 5799: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5775: 5772: 5771: 5770: 5769:Medici villas 5767: 5766: 5764: 5760: 5754: 5751: 5749: 5746: 5744: 5741: 5739: 5736: 5734: 5731: 5729: 5726: 5725: 5723: 5719: 5713: 5710: 5708: 5705: 5704: 5702: 5698: 5692: 5689: 5687: 5684: 5683: 5681: 5677: 5671: 5668: 5666: 5663: 5661: 5658: 5656: 5653: 5651: 5648: 5646: 5643: 5642: 5640: 5638: 5634: 5628: 5625: 5623: 5620: 5618: 5615: 5614: 5612: 5610: 5606: 5600: 5599:Ponte Vecchio 5597: 5595: 5592: 5590: 5587: 5585: 5582: 5581: 5579: 5575: 5569: 5566: 5564: 5561: 5559: 5556: 5553: 5549: 5546: 5544: 5541: 5538: 5534: 5531: 5530: 5528: 5524: 5518: 5515: 5513: 5510: 5508: 5505: 5503: 5500: 5498: 5495: 5493: 5490: 5488: 5487:degli Alberti 5485: 5483: 5480: 5479: 5477: 5473: 5463: 5460: 5459: 5457: 5453: 5447: 5444: 5442: 5439: 5437: 5434: 5432: 5429: 5427: 5424: 5422: 5419: 5417: 5414: 5412: 5409: 5407: 5404: 5402: 5399: 5397: 5394: 5392: 5389: 5387: 5384: 5382: 5379: 5377: 5374: 5372: 5369: 5367: 5364: 5362: 5359: 5357: 5354: 5352: 5349: 5347: 5344: 5342: 5339: 5337: 5334: 5332: 5329: 5327: 5324: 5323: 5321: 5319: 5315: 5307: 5304: 5302: 5299: 5298: 5297: 5294: 5292: 5289: 5287: 5284: 5280: 5277: 5276: 5275: 5272: 5270: 5267: 5265: 5264:SS Annunziata 5262: 5258: 5255: 5254: 5253: 5250: 5246: 5243: 5242: 5241: 5238: 5234: 5231: 5229: 5226: 5225: 5224: 5221: 5219: 5216: 5215: 5213: 5209: 5206: 5202: 5197: 5185: 5182: 5181: 5180: 5177: 5175: 5172: 5168: 5165: 5164: 5163: 5160: 5158: 5155: 5153: 5150: 5146: 5143: 5142: 5141: 5140:Palazzo Pitti 5138: 5134: 5131: 5130: 5129: 5126: 5124: 5123:Palazzo Gondi 5121: 5119: 5116: 5114: 5111: 5109: 5106: 5104: 5101: 5099: 5096: 5094: 5091: 5087: 5084: 5083: 5082: 5079: 5077: 5074: 5072: 5069: 5067: 5066:Museo Galileo 5064: 5062: 5059: 5057: 5054: 5052: 5049: 5047: 5044: 5042: 5039: 5037: 5034: 5032: 5029: 5025: 5024: 5020: 5019: 5018: 5015: 5013: 5010: 5008: 5005: 5003: 5000: 4999: 4997: 4992: 4988: 4984: 4980: 4973: 4968: 4966: 4961: 4959: 4954: 4953: 4950: 4946: 4943: 4911: 4908: 4905: 4902: 4900: 4899: 4894: 4892: 4889: 4888: 4883: 4874: 4869: 4863: 4857: 4853: 4848: 4844: 4839: 4835: 4830: 4826: 4821: 4817: 4812: 4808: 4803: 4799: 4794: 4790: 4784: 4780: 4775: 4771: 4765: 4761: 4756: 4752: 4747: 4743: 4738: 4734: 4729: 4725: 4720: 4716: 4711: 4707: 4705:9780500233139 4701: 4697: 4692: 4688: 4684: 4679: 4676:(1/2): 33–72. 4675: 4671: 4666: 4662: 4658: 4653: 4652: 4648: 4642:, p. 24. 4641: 4636: 4633: 4629: 4624: 4621: 4617: 4612: 4609: 4605: 4600: 4597: 4593: 4588: 4585: 4581: 4576: 4573: 4569: 4564: 4561: 4557: 4552: 4549: 4545: 4540: 4537: 4533: 4528: 4525: 4521: 4516: 4513: 4509: 4504: 4501: 4497: 4492: 4489: 4485: 4480: 4476: 4472: 4467: 4464: 4460: 4459:Paolucci 1994 4455: 4452: 4448: 4443: 4440: 4437:, p. 83. 4436: 4431: 4428: 4424: 4419: 4416: 4411: 4404: 4401: 4397: 4396:Paolucci 1994 4392: 4389: 4385: 4384:Paolucci 1994 4380: 4377: 4373: 4372:Paolucci 1994 4368: 4365: 4361: 4360:Paolucci 1994 4356: 4353: 4350: 4346: 4340: 4337: 4324: 4323: 4318: 4312: 4309: 4297: 4293: 4286: 4283: 4271: 4267: 4261: 4258: 4255:, p. 15. 4254: 4253:Robinson 1980 4249: 4246: 4242: 4237: 4234: 4230: 4225: 4222: 4219:, p. 199 4218: 4217:Robinson 1980 4213: 4210: 4206: 4201: 4198: 4194: 4189: 4186: 4182: 4181:Robinson 1980 4177: 4174: 4170: 4169:Robinson 1980 4165: 4162: 4159:, p. 12. 4158: 4157:Robinson 1980 4153: 4150: 4147:, p. 30. 4146: 4141: 4138: 4134: 4133:Paolucci 1994 4129: 4127: 4123: 4119: 4118:Paolucci 1994 4114: 4112: 4108: 4103: 4099: 4095: 4091: 4084: 4081: 4078:, p. 16. 4077: 4076:Robinson 1980 4072: 4069: 4064: 4057: 4054: 4049: 4042: 4039: 4036:, p. 28. 4035: 4034:Robinson 1980 4030: 4027: 4023: 4022:Paolucci 1994 4018: 4015: 4011: 4007: 4002: 3999: 3995: 3994:Danziger 2024 3990: 3987: 3983: 3982:Paolucci 1994 3978: 3975: 3971: 3970:Paolucci 1994 3966: 3963: 3958: 3954: 3948: 3945: 3941: 3940:Paolucci 1994 3936: 3934: 3930: 3926: 3925:Paolucci 1994 3921: 3918: 3914: 3913:Nuova Cronica 3910: 3905: 3902: 3899:, p. 25. 3898: 3897:Danziger 2024 3893: 3890: 3885: 3878: 3875: 3870: 3866: 3862: 3858: 3854: 3850: 3846: 3842: 3838: 3831: 3828: 3824: 3819: 3816: 3813:, p. 32. 3812: 3811:Danziger 2024 3807: 3804: 3799: 3792: 3789: 3784: 3777: 3774: 3770: 3769:Danziger 2024 3765: 3762: 3759:, p. 18. 3758: 3757:Paolucci 1994 3752: 3749: 3745: 3744:Danziger 2024 3740: 3737: 3733: 3728: 3725: 3721: 3720:Danziger 2024 3716: 3713: 3709: 3708:Danziger 2024 3704: 3701: 3698:, p. 24. 3697: 3696:Danziger 2024 3692: 3689: 3684: 3678: 3677:Danziger 2024 3673: 3670: 3667:, p. 24. 3666: 3665:Danziger 2024 3662: 3657: 3654: 3650: 3649:Danziger 2024 3645: 3642: 3637: 3633: 3626: 3623: 3618: 3612: 3608: 3601: 3598: 3594: 3589: 3586: 3582: 3577: 3574: 3570: 3569:Paolucci 1994 3564: 3562: 3558: 3555: 3551: 3545: 3542: 3538: 3537:Danziger 2024 3533: 3530: 3527:, p. 43. 3526: 3521: 3518: 3514: 3513:Nuova Cronica 3510: 3504: 3501: 3496: 3489: 3486: 3480: 3477: 3472: 3468: 3461: 3458: 3454:. p. 11. 3453: 3449: 3442: 3439: 3435: 3434:Paolucci 1994 3429: 3426: 3421: 3417: 3411: 3406: 3403: 3399: 3398:Danziger 2024 3394: 3391: 3385: 3381: 3378: 3377: 3373: 3361: 3358: 3355: 3352: 3349: 3346: 3343: 3340: 3337: 3334: 3331: 3328: 3325: 3322: 3319: 3316: 3314:Cain and Abel 3313: 3310: 3307: 3304: 3303: 3299: 3295: 3291: 3283: 3280: 3277: 3274: 3271: 3268: 3265: 3262: 3259: 3256: 3253: 3250: 3247: 3244: 3241: 3238: 3235: 3232: 3230:Resurrection. 3229: 3226: 3223: 3220: 3217: 3214: 3211: 3208: 3206:Flagellation. 3205: 3202: 3199: 3196: 3193: 3190: 3187: 3184: 3181: 3178: 3175: 3172: 3169: 3166: 3163: 3160: 3157: 3154: 3151: 3148: 3145: 3142: 3139: 3136: 3133: 3130: 3127: 3124: 3122:Annunciation. 3121: 3118: 3117: 3113: 3109: 3105: 3097: 3094: 3091: 3088: 3085: 3082: 3079: 3076: 3073: 3070: 3067: 3064: 3061: 3058: 3055: 3052: 3049: 3046: 3043: 3040: 3037: 3034: 3031: 3028: 3025: 3022: 3019: 3016: 3013: 3010: 3007: 3004: 3001: 2998: 2995: 2992: 2989: 2986: 2983: 2980: 2977: 2974: 2971: 2968: 2965: 2962: 2959: 2956: 2953: 2950: 2947: 2944: 2941: 2938: 2935: 2932: 2931: 2927: 2923: 2919: 2912: 2907: 2905: 2902: 2894: 2887: 2882: 2879: 2872: 2867: 2863: 2859: 2853: 2848: 2844: 2840: 2834: 2829: 2826: 2823: 2821: 2817: 2813: 2809: 2803: 2800: 2795: 2793: 2789: 2783: 2779: 2777: 2772: 2770: 2766: 2762: 2758: 2754: 2750: 2746: 2742: 2738: 2734: 2730: 2726: 2722: 2717: 2715: 2711: 2705: 2703: 2699: 2695: 2691: 2684: 2679: 2677: 2673: 2669: 2661: 2654: 2649: 2646: 2639: 2634: 2627: 2622: 2615: 2610: 2608: 2606: 2602: 2598: 2597:Last Judgment 2593: 2591: 2587: 2583: 2579: 2575: 2571: 2567: 2563: 2554: 2550: 2546: 2542: 2538: 2535: 2531: 2527: 2523: 2519: 2515: 2512: 2504: 2498: 2494: 2488: 2483: 2479: 2475: 2469: 2464: 2460: 2456: 2450: 2445: 2442: 2435: 2430: 2427: 2426: 2421: 2415: 2410: 2408: 2406: 2402: 2398: 2394: 2390: 2386: 2382: 2378: 2375:In 1466, the 2373: 2371: 2370: 2365: 2354: 2349: 2342: 2337: 2330: 2325: 2318: 2313: 2310: 2308: 2306: 2302: 2297: 2295: 2287: 2285: 2283: 2278: 2270: 2264: 2258: 2253: 2246: 2241: 2234: 2229: 2222: 2217: 2215: 2213: 2209: 2205: 2201: 2196: 2194: 2190: 2186: 2181: 2179: 2175: 2167: 2161: 2155: 2150: 2147: 2143: 2136: 2131: 2127: 2123: 2117: 2112: 2105: 2100: 2093: 2088: 2085: 2083: 2081: 2077: 2073: 2069: 2065: 2061: 2057: 2053: 2049: 2045: 2041: 2037: 2033: 2024: 2020: 2014: 2009: 2006: 1999: 1994: 1991: 1987: 1981: 1976: 1969: 1964: 1961: 1959: 1957: 1953: 1949: 1945: 1941: 1935: 1933: 1928: 1926: 1922: 1918: 1914: 1909: 1907: 1903: 1899: 1896:The altar is 1891: 1889: 1887: 1884:, donated by 1883: 1879: 1872: 1867: 1863: 1861: 1857: 1853: 1844: 1837: 1835: 1833: 1829: 1827: 1823: 1819: 1815: 1814:Harris Museum 1811: 1807: 1803: 1799: 1798:San Francisco 1795: 1791: 1787: 1779: 1777: 1771: 1766: 1758: 1754: 1752: 1748: 1743: 1741: 1740: 1735: 1731: 1727: 1723: 1719: 1715: 1710: 1708: 1707: 1703:’ account in 1702: 1697: 1694: 1690: 1686: 1682: 1678: 1674: 1670: 1666: 1662: 1657: 1650: 1646: 1642: 1638: 1636: 1635:Old Testament 1632: 1628: 1620: 1616: 1609: 1607: 1604: 1603:Flagellation, 1599: 1595: 1587: 1583: 1579: 1575: 1572: 1571:New Testament 1568: 1564: 1563:Saint Gregory 1560: 1556: 1555:Saint Ambrose 1552: 1547: 1545: 1541: 1537: 1533: 1532:Paolo Uccello 1529: 1525: 1521: 1516: 1514: 1510: 1506: 1502: 1499:, now in the 1498: 1494: 1490: 1486: 1485: 1481:In 1401, the 1476: 1472: 1467: 1459: 1457: 1454: 1446: 1444: 1442: 1438: 1437:Cain and Abel 1434: 1430: 1425: 1422: 1413: 1409: 1407: 1403: 1399: 1395: 1389: 1387: 1382: 1381:Andrea Pisano 1378: 1374: 1370: 1366: 1358: 1354: 1353:Andrea Pisano 1349: 1345: 1343: 1339: 1335: 1327: 1322: 1319:Male face on 1315: 1310: 1307: 1300: 1295: 1292: 1285: 1280: 1277: 1270: 1265: 1258: 1253: 1246: 1241: 1238: 1236: 1234: 1230: 1225: 1217: 1210: 1203: 1198: 1195: 1188: 1183: 1180: 1173: 1168: 1165: 1158: 1153: 1150: 1143: 1138: 1135: 1133: 1131: 1127: 1123: 1119: 1115: 1111: 1107: 1103: 1099: 1095: 1091: 1086: 1084: 1083:Museo Bardini 1080: 1076: 1072: 1067: 1065: 1061: 1057: 1053: 1049: 1045: 1041: 1037: 1032: 1030: 1026: 1022: 1018: 1014: 1010: 1005: 1003: 993: 989: 985: 980: 973: 968: 966: 964: 958: 954: 952: 948: 942: 940: 935: 934: 929: 924: 922: 918: 914: 908: 902: 898: 895: 892: 888: 884: 880: 875: 873: 872: 863: 858: 851: 849: 847: 843: 839: 834: 830: 826: 819:The architect 818: 816: 813: 809: 805: 804:Roman emperor 801: 797: 793: 792:Julius Caesar 789: 785: 781: 777: 773: 769: 757: 752: 748: 741: 736: 729: 724: 717: 712: 709: 707: 705: 704:Holy Saturday 701: 697: 693: 692:trial by fire 689: 685: 681: 677: 674: 673:Vallombrosian 669: 666: 662: 658: 654: 650: 646: 642: 634: 632: 630: 626: 622: 617: 615: 611: 605: 603: 599: 596: 592: 583: 578: 574: 572: 566: 564: 560: 557:dedicated to 556: 548: 543: 541: 539: 535: 531: 527: 523: 519: 518:Andrea Pisano 515: 511: 506: 504: 500: 496: 492: 489:, an ancient 488: 483: 481: 477: 476:New Jerusalem 472: 466: 464: 459: 455: 451: 450:Holy Saturday 446: 444: 440: 436: 432: 428: 425: 421: 418:of the city, 417: 413: 409: 405: 401: 397: 393: 383: 379: 376: 373: 366: 363: 354: 348: 340: 332: 325: 322: 320:Official name 314: 305: 302: 299: 297: 293: 288: 285: 282: 280: 276: 271: 268: 264: 260: 257: 255: 251: 247: 243: 239: 235: 231: 227: 222: 218: 216: 212: 209: 206: 204: 200: 195: 191: 187: 183: 179: 175: 172: 169: 167: 163: 160: 156: 153: 144: 140: 136: 132: 129: 126: 124: 120: 116: 112: 109: 105: 102: 98: 85: 75: 68: 55: 51: 50: 46: 41: 36: 30: 19: 5627:Teatro Verdi 5507:dei Mannelli 5482:degli Amidei 5361:Orsanmichele 5330: 5233:Pazzi Chapel 5098:Orsanmichele 5022: 4915: 4897: 4855: 4851: 4842: 4833: 4824: 4815: 4806: 4797: 4778: 4759: 4750: 4741: 4732: 4723: 4714: 4695: 4686: 4683:Art Bulletin 4682: 4673: 4669: 4660: 4656: 4635: 4623: 4611: 4599: 4587: 4575: 4563: 4551: 4539: 4527: 4515: 4503: 4491: 4483: 4478: 4466: 4454: 4442: 4430: 4418: 4409: 4403: 4391: 4379: 4367: 4355: 4344: 4339: 4327:. Retrieved 4320: 4311: 4299:. Retrieved 4295: 4285: 4273:. Retrieved 4269: 4260: 4248: 4236: 4224: 4212: 4200: 4188: 4183:, p. 96 4176: 4171:, p. 95 4164: 4152: 4140: 4096:(1): 24–37. 4093: 4089: 4083: 4071: 4062: 4056: 4047: 4041: 4029: 4017: 4001: 3989: 3977: 3965: 3956: 3947: 3920: 3904: 3892: 3883: 3877: 3844: 3840: 3830: 3818: 3806: 3797: 3791: 3782: 3776: 3764: 3751: 3739: 3727: 3715: 3703: 3691: 3682: 3672: 3656: 3644: 3635: 3631: 3625: 3606: 3600: 3588: 3576: 3549: 3544: 3539:, p. 1. 3532: 3520: 3515:, II, xxiii. 3503: 3494: 3488: 3479: 3466: 3460: 3450:. Florence: 3447: 3441: 3428: 3419: 3415: 3405: 3393: 3359: 3353: 3347: 3341: 3335: 3329: 3323: 3317: 3311: 3308:Adam and Eve 3305: 3297: 3281: 3275: 3269: 3263: 3257: 3251: 3245: 3239: 3233: 3227: 3224:Crucifixion. 3221: 3215: 3209: 3203: 3197: 3191: 3188:Last Supper. 3185: 3179: 3173: 3167: 3161: 3155: 3149: 3143: 3137: 3131: 3125: 3119: 3111: 3095: 3089: 3083: 3077: 3071: 3065: 3059: 3053: 3047: 3041: 3035: 3029: 3023: 3017: 3011: 3005: 2999: 2993: 2987: 2981: 2975: 2969: 2963: 2957: 2951: 2945: 2939: 2933: 2925: 2903: 2899: 2892: 2877: 2861: 2842: 2819: 2815: 2811: 2807: 2805: 2798: 2796: 2784: 2780: 2773: 2760: 2756: 2752: 2748: 2744: 2740: 2736: 2732: 2728: 2718: 2706: 2686: 2681: 2665: 2659: 2644: 2594: 2558: 2552: 2548: 2544: 2540: 2533: 2529: 2525: 2521: 2508: 2496: 2477: 2458: 2423: 2392: 2376: 2374: 2367: 2362: 2298: 2291: 2274: 2207: 2197: 2182: 2173: 2171: 2125: 2035: 2029: 2022: 2004: 1989: 1936: 1929: 1912: 1910: 1895: 1876:Most of the 1875: 1870: 1849: 1830: 1790:Poughkeepsie 1783: 1774: 1769: 1744: 1737: 1711: 1704: 1698: 1661:Adam and Eve 1658: 1654: 1648: 1626: 1624: 1602: 1591: 1585: 1559:Saint Jerome 1548: 1519: 1517: 1512: 1482: 1480: 1450: 1441:original sin 1429:Adam and Eve 1426: 1418: 1390: 1362: 1331: 1328:Bronze doors 1320: 1305: 1290: 1275: 1228: 1226: 1222: 1208: 1193: 1178: 1163: 1148: 1129: 1121: 1101: 1089: 1087: 1078: 1068: 1033: 1017:serpentinite 999: 997: 959: 955: 943: 938: 931: 925: 915: 912: 896: 878: 876: 869: 867: 822: 796:Roman Empire 783: 765: 684:Peter Damian 670: 638: 618: 609: 606: 590: 587: 581: 567: 555:Roman temple 552: 526:Michelangelo 507: 491:Roman temple 484: 467: 447: 416:patron saint 395: 391: 389: 263:serpentinite 219:11th century 197:Architecture 123:Denomination 29: 5811:Il Gioiello 5774:di Castello 5426:S Pancrazio 5371:Ss Apostoli 5133:Magi Chapel 4995:and palaces 4993:, galleries 4937: / 4423:Tigler 2006 3732:Tigler 2006 3593:Tigler 2006 3581:Tigler 2006 3278:St. Gregory 3266:St. Ambrose 3248:St. Matthew 3112:North doors 2926:South doors 2788:Gaddo Gaddi 2767:now in the 2729:Fall of Man 1598:Renaissance 1540:Sansepolcro 1505:Renaissance 1460:North doors 1433:Fall of Man 1338:Renaissance 1233:sarcophagus 1128:. 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