videos + essays
![Donatello, <em>Feast of Herod</em>](https://smarthistory.org/wp-content/uploads/2022/06/salomethumbsh-570x350.jpg)
Donatello, Feast of Herod
City-states vied for the best artists. After Ghiberti dragged his feet, Siena invited Donatello to finish the job.
![Donatello, <em>David</em>](https://smarthistory.org/wp-content/uploads/2018/07/David_Donatello-thumb-570x350.jpg)
Donatello, David
His nudity references classical antiquity, but David embodies the ideals and concerns of 15th-century Florence.
![Filippo Brunelleschi and Lorenzo Ghiberti, <em>Sacrifice of Isaac</em>](https://smarthistory.org/wp-content/uploads/2015/12/Brunelleschi-Ghiberti-Competition-Panels.png)
Filippo Brunelleschi and Lorenzo Ghiberti, Sacrifice of Isaac
Brunelleschi’s panel may be scarier, but Ghiberti’s is more emotionally complex. In both, an angel saves the day.
![Michelangelo, <em>David</em>](https://smarthistory.org/wp-content/uploads/2018/07/Michelangelo-David-thumb-570x350.jpg)
Michelangelo, David
Where’s Goliath? David scans for his enemy. This colossal sculpture is itself a giant of 16th-century Renaissance art.
![Donatello, <em>St. Mark</em>](https://smarthistory.org/wp-content/uploads/2018/06/donatellostmark-thumb-570x350.jpg)
Donatello, St. Mark
When the citizens of Florence looked up at St. Mark, they saw a mirror of their own dignity—and of ancient nobility.
![Lorenzo Ghiberti, <em>Gates of Paradise</em>, East Doors of the Florence Baptistry](https://smarthistory.org/wp-content/uploads/2018/07/Lorenzo-Ghiberti-Gates-of-Paradise-thumb-570x350.jpg)
Lorenzo Ghiberti, Gates of Paradise, East Doors of the Florence Baptistry
These gilded bronze doors are a masterpiece of clarity and illusionism. Space coheres, and figures move with ease.
![Nanni di Banco, <em>Four Crowned Saints</em>](https://smarthistory.org/wp-content/uploads/2018/07/Nanni-di-Banco-Four-Crowned-Saints-thumb-570x350.jpg)
Nanni di Banco, Four Crowned Saints
Capturing figures in thought, stonemasons understood what it meant to be human—just like the ancient Romans.
![Donatello, <em>Mary Magdalene</em>](https://smarthistory.org/wp-content/uploads/2018/07/Donatello-Mary-Magdalene-thumb-570x350.jpg)
Donatello, Mary Magdalene
This difficult sculpture is an exercise in contrasts: frailty and power, pure spirituality and anatomical accuracy.
![Donatello, <em>Madonna of the Clouds</em>](https://smarthistory.org/wp-content/uploads/2018/07/Donatello-Madonna-of-the-Clouds-thumb-570x350.jpg)
Donatello, Madonna of the Clouds
This marble relief is as flat as Tuscan bread, yet its atmospheric space recedes into depth. Extraordinary.
![Orsanmichele and Donatello’s <em>Saint Mark</em>, Florence](https://smarthistory.org/wp-content/uploads/2018/07/Orsanmichele-and-Donatellos-Saint-Mark-thumb-570x350.jpg)
Orsanmichele and Donatello’s Saint Mark, Florence
From granary to—church? Once open to the city, this building and its niches blend the spiritual with the everyday.
![Michelangelo, <em>Pietà</em>](https://smarthistory.org/wp-content/uploads/2015/11/Michelangelo-Pieta.png)
Michelangelo, Pietà
Can stone be that soft? Contrast defines this sculpture. Mary is sweet but strong, and Christ, real yet ideal.