Andrea Pisano (1330 to 1336). Life of John the Baptist [gilded bronze panels]. Baptistry of San Giovanni, Florence, south doors.

I have a “soft spot” for quatrefoils. These ones are simply beautiful: Pefect circular and diamond forms fused together in a balanced design, used to frame the individual scenes of these door panels. These framing devices, in their strict geometry, contrast perfectly with the figurative, textured narratives within. The textured motif framing both doors adds delicacy and life to the entire composition; while the general forms are repeated, the details across each length are original. The individual cells are rendered in idealistic realism, favoring spatial design for clarity, and beautifully textured, from backgrounds, to clothing, to architecture. This isn’t just a master work; it is a handful of master works beautifully arranged in an organic, graceful manner, providing general ambiance, specific story-telling and utility. |

The individual scenes are basically realistic verging on naturalism. On the one hand, specifics are rendered with textural quality, on the other the nature of the medium and the idealistic formatting of forms injects abstraction to the cells. 
This is a master work of pictorial, architectural and relief expression. When narrowing the focus down to the scenes of the individual quatrefoils, shape predominates. This is supported by a painstakingly-considered combination of positive and negative space, texture, chronological unfolding of events (time) and the global pattern the panels create. 
The relief-nature of the medium greatly aids the impression of depth in the panels because there is actual depth. Its relative development implies space the same way the Ara Pacis does. There is a basic bright/dull treatment of subject, which favors energy control more than spatial organization. Minor adjustments in pictorial detail support this work’s sense of depth, as well. 
Using pictorial balance in favor of the clearest possible representation of the individual narratives is a formal choice made globally and in the individual scenes. The idealistic realism that formats the cells shows the continued progression of western art from flat abstraction in favor of optical reality. One of the results of this trend in this work is the subtle texture each cell gains from it. All elemental choices, including formal arrangement the application of negative space, are made to create visually pleasing, balanced scenes. 
Each cell carries equal development, weight and energy, similar to a series of capital letters, which of course is appropriate to tell a visual story. Framing motifs and textures serve their space-defining and supportive roles well. 
This work reveals, or is an example of, a trend common of Gothic era art in it’s organized, clear communication of a story. It sets the definition for forging visual beauty and utility into a single unit. The architectural elements effectively melt into the framing devices and pictorial cells. Pisano has crafted a master work based on the harmonious balancing of contrasts: realism and abstraction, pace built on positive and negative space and energy and movement with a static sense of substantiality.