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City-states vied for the best artists. After Ghiberti dragged his feet, Siena invited Donatello to finish the job.
His nudity references classical antiquity, but David embodies the ideals and concerns of 15th-century Florence.
Brunelleschi’s panel may be scarier, but Ghiberti’s is more emotionally complex. In both, an angel saves the day.
Where’s Goliath? David scans for his enemy. This colossal sculpture is itself a giant of 16th-century Renaissance art.
A soldier saint in Renaissance Florence.
When the citizens of Florence looked up at St. Mark, they saw a mirror of their own dignity—and of ancient nobility.
These gilded bronze doors are a masterpiece of clarity and illusionism. Space coheres, and figures move with ease.
Capturing figures in thought, stonemasons understood what it meant to be human—just like the ancient Romans.
This difficult sculpture is an exercise in contrasts: frailty and power, pure spirituality and anatomical accuracy.
This marble relief is as flat as Tuscan bread, yet its atmospheric space recedes into depth. Extraordinary.
From granary to—church? Once open to the city, this building and its niches blend the spiritual with the everyday.
Can stone be that soft? Contrast defines this sculpture. Mary is sweet but strong, and Christ, real yet ideal.