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How did Lorenzo Ghiberti’s St. Matthew show the influence of new Renaissance sculpture?

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Bronze self-portrait of Lorenzo Ghiberti in relief, set within ornate floral and geometric decoration on the Gates of Paradise at the Florence Baptistery. — Lorenzo Ghiberti Self-portrait by Lorenzo Ghiberti, detail from *Gates of Paradise*, 1425–52; gilded bronze doors formerly on the east side of the Baptistery of San Giovanni, Florence, and now on display in Opera del Duomo Museum, Florence.

Lorenzo Ghiberti’s St. Matthew (1419–1422), created for the guild church of Orsanmichele, marks a significant departure from the artist's earlier adherence to Gothic traditions. While his previous large-scale work, St. John the Baptist, was characterized by small-scale details and drapery that seemed to overwhelm the figure, the St. Matthew reflects the influence of the emerging Renaissance style and the competitive pressure from younger contemporaries like Donatello and Nanni di Banco.1

The St. Matthew demonstrates this shift through its adoption of monumental proportions and a more classical approach to the human form. By embracing the "boldness and strength" of the weighty, classical figures championed by his rivals, Ghiberti successfully moved beyond the older, convention-bound styles. This work solidified his ability to adapt to the new artistic concerns of the Quattrocento, allowing him to maintain his position as a leading sculptor in Florence during a period of rapid stylistic innovation.21