Italian sculptor. He is best known as the friend and occasional collaborator of Jacopo della Quercia in Lucca and Siena, but he already had a considerable reputation before his association with della Quercia. In 1401 Francesco was invited to participate in the competition for the second set of bronzeGLOSSARYAn alloy of copper (usually about 90 per cent) and tin, often also containing small amounts of other metals such as lead or zinc. Since antiquity it has been the metal most commonly used in cast sculpture because of its strength, durability, and the fact that it is easily workable - both hot and cold - by a variety of processes. It is easier to cast than copper because it has a lower melting-point, and its great tensile strength makes possible the protrusion of unsupported parts - an advantage over marble sculpture. The colour of bronze is affected by the proportion of tin or other metals present, varying from silverish to a rich, coppery red, and its surface beauty can be enhanced when it acquires a patina. doors for the Florentine BaptisteryGLOSSARYHall or chapel situated close to, or connected with, a church, in which the sacrament of baptism is administered. The form of the baptistery originally evolved from small, circular Roman buildings that were designated for religious purposes (e.g., the Temple of Venus, Baalbek, Lebanon, AD 273, and the Mausoleum of Diocletian, Spalato [Split, Croatia], AD 300); but because baptism originally was performed on only three holidays, Easter, Pentecost, and Epiphany, enlargement of the older Roman buildings became necessary to accommodate the growing numbers of converts. Baptisteries were among the most symbolic of all Christian architectural forms; and the characteristic design that was developed by the 4th century AD can be seen today in what is probably the earliest extant example, the baptistery of the Lateran palace in Rome, built by Sixtus III, pope between 432 and 440. The baptistery was commonly octagonal in plan, a visual metaphor for the number eight, which symbolized in Christian numerology a new beginning. As eight follows the "complete" number, seven, so the beginning of the Christian life follows baptism. Customarily, a baptistery was roofed with a dome, the symbol of the heavenly realm toward which the Christian progresses after the first step of baptism. The baptismal font was usually octagonal, set beneath a domical ciborium, or canopy, and encircled by columns and an ambulatory--features that were first used in the baptistery by the Byzantines when they altered Roman structures. Baptisteries commonly adjoined the atrium, or forecourt, of the church and were often large and richly decorated, such as those at Pisa, Florence, Parma, and Nocera in Italy; el Kantara, Alg.; and Poitiers, France. After the 6th century they were gradually reduced to the status of small chapels inside churches. In the 10th century, when baptism by affusion (pouring liquid over the head) became standard practice in the church, baptisteries, or baptismal chapels, were often omitted entirely. In most modern churches the font alone serves for baptism; something of earlier symbolism survives, however, in its usual location near the church door - an allusion to entering the Christian life. together with Lorenzo Ghiberti, Filippo Brunelleschi, Niccolò di Piero Lamberti, Niccolò d'Arezzo, Simone da Colle and Jacopo della Quercia. His first dated work is a polychromed wooden statue of the standing Virgin and Child (1403), in S Andrea, Palaia. Both the delicate Virgin and Child and the rigidly iconic St Peter (Montalcino, Museo Diocesano) are in the Late GothicGLOSSARYGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries. style then current in Pisa, and show the influence of Nino Pisano in particular.
Various works have been attributed to him on the basis of three documented polychromed busts depicting the patrons of Siena, San Crescenzio, San Savino and San Vittore, which were commissioned from him in 1408.
