Luca della Robbia’s Bronze Doors: History and Analysis
Luca della Robbia’s Bronze Doors of the North Sacristy
The bronze doors of the North Sacristy feature gilded bronze representations. The channels between the boxes are decorated with heads (interpreted as prophets and sibyls) and garlands.
The door’s narrative unfolds from bottom to top:
- Representations of the Four Evangelists and Four Doctors of the Church (St. Jerome, St. Ambrose, and St. Augustine).
- Scenes including the Annunciation, the Nativity, the Adoration of the Magi, Jesus arguing with the doctors in the temple, the Transfiguration, and the Resurrection of Lazarus.
Donatello, Michelozzo, and Uccello were partners in this work, marking their early collaborations. The style blends International Gothic and Renaissance elements, evolving from the Trecento tradition. The scenes are refined and elegant, though the figures sometimes appear flat due to a lack of spatial depth.
Bronze Door of the North Sacristy (1446-1464)
An initial attempt was made with Donatello in 1437, but the project stalled. In 1445, after Donatello finished the eardrum, Luca della Robbia presented a joint project with Maso di Bartolomeo and Michelozzo.
The commission began in 1446. Maso possibly created a model, but his death in 1457 halted the work until 1461, when a new contract was signed solely with Luca della Robbia, who completed it in 1464.
The doors consist of two bronze leaves, each with five boxes. While there are similarities to Donatello’s work, which served as a reference, the backgrounds are smooth, unlike Donatello’s mimics. Luca places a saint in each panel, flanked by two angels, creating an axial pattern absent in Donatello’s work.
The reliefs measure 53 inches square, slightly smaller than those in Siena.
The reading order is from top to bottom and left to right:
- Madonna and Child
- San Juan Bautista
- Four Evangelists
- Four Doctors or Parents of the Western Church
There were plans to add a canopy to emphasize the Saints’ importance. These figures are accompanied by two standing angels, a departure from Donatello’s approach. Heads are placed at the corners. Luca seeks an axis of symmetry, with the main figure centered and flanked by standing angels, unlike Donatello’s standing figures.
Each balanced figure is seated, with two angels on either side, set against a flat background. Despite the lack of an architectural backdrop, the depth and naturalness of the figures are undeniable.
San Gregorio sits with an angel on either side, one holding a censer and the other a book, creating a sense of space, depth, and naturalness.
San Mateo is seated with an angel, commanding them. One angel holds the ink, while the other looks on. The scene is naturalistic but restrained, lacking the dramatic intensity of Donatello’s work.
This bronze work was unprecedented.
Scenes from the Predella of the Annunciation by Fra Angelico (Prado)
Scenes 1, 3, and 5 feature many figures, while architecture dominates scenes 2 and 4.
Presentation in the Temple
The architecture is prominent, featuring a central plant temple with unfluted columns. This building is typical of the Florentine era, with the socket being a clear example of Florentine architecture. Light enters from a small alley on the left.