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"Opening the gates of paradise: function and the iconographical program" by Gwynne Ann Dilbeck Combining a goldsmith's delicacy with a foundryman's bravura, sculptor Lorenzo Ghiberti condensed the Old Gates of Paradise into ten panels to produce one of the defining masterpieces of the Italian Renaissance. Since their installation inthe doors have withstood a variety of near-biblical catastrophes: a torrential flood, vandalism, overzealous polishing and caustic air pollution. When the doors were finally removed for restoration from the facade of the 11th-century octagonal Baptistery inthey looked dull and grimy. But the worst damage was occurring almost invisibly. Diagnostic studies revealed that fluctuations in humidity were causing unstable oxides on the bronze beneath the gilding to dissolve and recrystallize, creating minute craters and blisters on the gold surface. A disastrous Arno River flood in had knocked five panels off the door frames and left another hanging loose. A conservator later drilled holes in the panel backs to reattach them with screws. The restorers' first task was to clean the six panels, successively bathing them in a Rochelle salt solution and water, then applying acetone and drying them with warm air. After laboriously removing the four additional panels and some of the other firmly embedded gilded elements, the conservators decided it was too risky to continue. To clean the Gates of Paradise elements still attached, the team adapted laser techniques that they had used successfully to clean stone statues. The drawback of lasers is their tendency to heat surfaces, which would harm the gilding. But scientists in Florence developed one that could beam a more intense ray for a shorter time, and inthe conservators began using it on the doors' gilded sculptures. Gates of Paradise ungilded portions, they employed an array of tools that resemble a dentist's arsenal: a small scalpel for thick encrustations, a drill for precise excisions and a little rotating brush for polishing. They hope to finish the work in To celebrate the nearly completed restoration, three of the ten panels and four of the doors' smaller sculptural pieces are now touring the United States as part of an exhibition organized by the High Museum of Art in Atlanta. Then the sculptures will return to Florence to be Gates of Paradise to the door frames and encased in a plate-glass Gates of Paradise, into which inert nitrogen will be pumped to prevent future oxidation. A shiny replica, installed inwill remain at the Baptistery itself. Ghiberti's doors were instantly recognized as a masterpiece. As one commentator declared in the s, "nothing like them had been done before on the globe and through them the name of man Gates of Paradise everywhere. By combining several biblical episodes into Gates of Paradise single frame in "Adam and Eve," Ghiberti demonstrated his command of high and low relief and introduced a narrative technique new in sculpture—the simultaneous Gates of Paradise of successive scenes. And with his portrayal in "David" of a pitched battle and a Gates of Paradise procession, the Gates of Paradise showed a flair for evoking large crowds Gates of Paradise a small area. The third panel, "Jacob and Esau," is Ghiberti's most masterful. Brunelleschi is renowned as the architect of the dome of Florence's Cathedral of Gates of Paradise Maria del Fiore, known more familiarly as the Duomo. Ghiberti also played here with sculptural illusion by extending some of his figures almost off the panel, while depicting others in low relief. The artist apparently shared posterity's high regard for this achievement. The self-portrait bust shows a bald man of about 60, with a shrewd gaze and a thin, broad mouth that seems to be smiling with self-satisfaction. Perhaps because Ghiberti was no radical, his standing has long been subordinated to those of his contemporaries—especially Brunelleschi and the sculptor Gates of Paradise appeared to depart more dramatically from medieval traditions. But the view of Ghiberti as a conservative is a misconception; though he retained an allegiance to the restraint and balance of medieval art, he innovatively used physical movements and individual features to reveal mood and character. He has a real talent for presenting novelty so that it seems to come out of the recent past. Ghiberti apprenticed in childhood to goldsmith Bartolo di Michele, who was his stepfather or, possibly, his father. His mother, Mona Fiore, the daughter of a farm laborer, had made what seemed an advantageous marriage in to Cione Ghiberti, the son of a notary, but, after a few years, left him for Bartolo, with whom she lived in a common-law marriage. After Cione's death inthey wed. The facts of Lorenzo's paternity remain in dispute, but in any case the young man was raised as a goldsmith's son and showed a precocious aptitude for the craft. InBartolo informed Ghiberti, who had left Florence during a brief outbreak of the plague, that the Baptistery in Florence was commissioning a second set of bronze doors. The first set, produced by Andrea Pisano 70 years before, was a widely recognized triumph of bronze casting; the new commission would be the most important in Florence since Pisano's. According to Giorgio Gates of Paradise 16th-century Lives of the ArtistsBartolo advised Ghiberti that "this was an opportunity to make himself known and to show his skill, besides the fact that he would make such a profit from it that neither would ever again have Gates of Paradise work on pear-shaped earrings. Gates of Paradise competition was organized by the Calimala, a guild of wealthy wool-cloth merchants who supervised the decoration of the Baptistery. Seven finalists, including Ghiberti, worked for a year to depict in bronze the story of Abraham's call to sacrifice his Gates of Paradise Isaac. In the end, it came down to two artists, Ghiberti and Brunelleschi. As can be seen in their rival entries oppositeBrunelleschi's version emphasizes the violence, while Ghiberti devised a calmer, more lyrical composition. To our eyes, the Brunelleschi seems more powerful and "modern. Certainly, Ghiberti's craftmanship was superior; unlike Brunelleschi, who soldered his panel from many separate pieces of bronze, Ghiberti cast his in just two, and he used only two-thirds as much metal—a not- inconsiderable savings. The combination of craft and parsimony would have appealed to the practical-minded men of the Calimala. By his own account, Ghiberti won the competition outright; but Gates of Paradise first biographer says that the jury asked the two men to collaborate and Brunelleschi refused. In any event, in cooperation with Bartolo Ghiberti, only about 20, was still too young to be a member of a Gates of Paradise guild and required a co- signer and a distinguished studio of assistants that included Donatello, Ghiberti took on the job. It would occupy him for the next two decades.