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In case you're wondering, here is a video of the Florence Baptistery and it's South and East Doors by Pisano and Ghiberti. There are detailed glimpses of the Solomon and the Queen of Sheba and Joshua and the Fall of Jericho panels from the East Door.

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Chapters:
0:00 - Coat of Arms of Cardinal Agostino Bausa
0:17 - Florence Baptistery
0:28 - South Doors by Andrea Pisano
0:36 - East Doors (Gates of Paradise) by Lorenzo Ghiberti
0:52 - Solomon and the Queen of Sheba
1:33 - Joshua and the Fall of Jericho

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The Florence Baptistery, also known as the Baptistery of Saint John (Italian: Battistero di San Giovanni), is a religious building in Florence, Italy, and has the status of a minor basilica. The octagonal baptistery stands in both the Piazza del Duomo and the Piazza San Giovanni, across from Florence Cathedral and the Campanile di Giotto.

The Baptistery is one of the oldest buildings in the city, constructed between 1059 and 1128 in the Florentine Romanesque style. Although the Florentine style did not spread across Italy as widely as the Pisan Romanesque or Lombard styles, its influence was decisive for the subsequent development of architecture, as it formed the basis from which Francesco Talenti, Leon Battista Alberti, Filippo Brunelleschi, and other master architects of their time created Renaissance architecture. In the case of the Florentine Romanesque, one can speak of "proto-renaissance", but at the same time an extreme survival of the late antique architectural tradition in Italy, as in the cases of the Basilica of San Salvatore, Spoleto, the Temple of Clitumnus, and the church of Sant'Alessandro in Lucca.

The Baptistery is renowned for its three sets of artistically important bronze doors with relief sculptures. The south doors were created by Andrea Pisano and the north and east doors by Lorenzo Ghiberti. Michelangelo dubbed the east doors the Gates of Paradise.

The Italian poet Dante Alighieri and many other notable Renaissance figures, including members of the Medici family, were baptized in this baptistery.[4]

The building contains the monumental tomb of Antipope John XXIII, by Donatello.

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Joshua and the Fall of Jericho

According to Joshua, once the Israelites had attacked and blasted their horns around the citadel, the fortifications of Jericho would collapse. The outline of this narrative may be seen in this artwork, which has an architectural backdrop in the background and a slew of characters in the foreground, all of whom appear to be discussing rather than fighting at the time.

The lovely tents are possibly the most stunning aspect of this panel, with the walled city in the distance demonstrating the artist’s improving understanding of architectural settings and effectively fitting perspective into artworks. The only way to properly appreciate the magnificence of this artwork, as well as the other panels on these doors, is to see it in person and examine it from various perspectives. Inside this panel, Ghiberti would also most likely have some assistance from his helpers, but he would always assume leadership of the composition and tackle the most essential aspects of each panel himself.

Solomon and the Queen of Sheba

The wedding scene in Solomon and the Queen of Sheba demonstrate Ghiberti’s mastery of viewpoint in the background and have a multitude of characters in the front. The eye is drawn straight down the middle of the viewpoint, which is flanked on either side by delicate pillars. From the center to the back, a double flight of steps rises up. This panel, like the others in the Gates of Paradise, is constructed of gilded bronze and is 79cm tall and broad.

There is a slew of characters vying for a peek at the symbolic union of Eastern and Western faiths through Solomon and the Queen’s encounter. This image is said to depict the assembly on the steps of Il Duomo in Florence on the 9th of July, 1439. At that period, Italy was a jumble of republics, and accords like these were vital to consolidate power and avert invasion.

Few painters had depicted anything like this at the time, therefore it was most likely a political choice to include it in the final arrangement of panels. Ghiberti, a forceful temperament who would generally insist on his own preferences, may have made one unusual concession. In that manner, the other panels blend numerous distinct biblical scenarios on each one, rendering this inconsistent.

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