Florence Renaissance: San Marco Library & Ghiberti’s North Doors

Posted on Mar 29, 2025 in Arts and Humanities

Library at the Convent of San Marco, Florence (c. 1444)

The room is rectangular and divided into three naves by columns with smooth shafts and Ionic capitals, showing a free interpretation of the classical Greek orders. Arches spring from these capitals.
The Ionic order, clean and clear, was used to be consistent with the function of a library. A Corinthian or Composite capital would have been too ornate, while the Doric or Tuscan orders would have been excessively simple.
The capitals are meticulously and delicately crafted.
The central nave is covered by a barrel vault, while the side aisles use groin vaults resting on small brackets. Ribs are not used, creating an open space.
Windows are opened along the walls, making the library very bright.

This is considered one of the first libraries of the modern era, establishing a new building type: the library as a specific, dedicated structure.
The library made an immediate impact and quickly drew attention. It is a coherent, clean, and bright space.
These features are fully consistent with an area intended for study and reflection. Therefore, the design uses minimal architectural ornamentation.
It is believed that work was completed here around 1444.

Some experts cite the dormitory of the Dominicans at Santa Maria Novella (1338-1340) as a precedent, although it was heavily loaded with vaults and polygonal pillars, making it less suitable for a library.
Influences include:
The Malatestiana Library in Cesena by Matteo Nuti (1447-1452). Built for the Convent of the Franciscans, its columns are classical but fluted.
The Library of the Convent of the Dominicans of Bologna (1466), which imitated the San Marco library.

In 1402, Ghiberti signed a contract with the Arte di Calimala (wool merchants’ guild) for the doors after winning the competition in 1401.
By 1403, he was receiving payments. When delays occurred, he demanded exclusivity for his work.
He created models in wax and then cast the panels in bronze. After casting, the reliefs were finished with carving and polishing. This work took many years.
The doors were installed on April 19, 1424. Around 1413, Ghiberti was permitted to accept a commission for Orsanmichele and some others.

In his first set of doors (the North Doors), Ghiberti’s style connects with International Gothic. Had he been born later, contemporary with Brunelleschi and Donatello, his style might have been different, as International Gothic was waning.
Even in his second set of doors (the Gates of Paradise), a tendency towards International Gothic is still noticeable.
Richard Krautheimer’s book discusses the thematic program of the doors, focusing on the New Testament (rather than the Old Testament, as originally planned for the earlier competition).

The structure of Ghiberti’s North Doors mirrors that of the earlier South Doors by Andrea Pisano (1330-1336):
There are 28 panels set within quatrefoil frames. The narrative sequence covers the New Testament, from the Annunciation to Pentecost (the coming of the Holy Spirit).
Ghiberti’s style evolved as he worked on the panels; later scenes show a better allocation of figures within the space.
His backgrounds remain relatively smooth, and the reliefs can sometimes appear somewhat detached, like cut-outs applied to the surface. However, as the work progressed, the scenes became more naturalistic.
Ghiberti worked within the constraints of the quatrefoil frames, sometimes placing figures awkwardly within the lobes and points to fill the space. The quatrefoil frames themselves are distinctly Gothic.