In 1401, Lorenzo Ghiberti won the competition held by the Arte di Calimala, the guild of importers and finishers of woolen cloth, to decorate the north doors of the baptistery in Florence. Baptism of Christ was one of 28 panels depicting scenes from the life of Christ. The baptistery was an especially important building for the Florentines, because the patron saint of the city was John the Baptist. Ghiberti’s bronze panel, although still in a medieval quatrefoil shape, is considered one of the earliest examples of Italian Renaissance art. Ghiberti selected the moment in the narrative when Christ is praying, the heavens opened, and the Holy Spirit descended like a dove (Luke 3:21–22). Ghiberti portrayed the dove emerging out of the panel toward the viewer. This feature, along with the placement of Christ’s feet in the river believably covered by the water, is evidence of the advancements Italian Renaissance artists were making in depicting nature. Christ is posed in a stance used by classical Greek sculptors.
Everything in the world begins with a yes. Clarice Lispecter
For Bishop Tom
In the beginning there is only Yes, infinitesimal, infinite, invisible seed sprouting in the swirling dark, the slow integration, expanding, extending, the sudden explosion into light—baby, blossom, universe, all beginnings are the same—and Yes to a world begun before words where nothing separates this from that, and Yes to the senses alive before language, bird song, leaf shadow, skin touching skin, and Yes to Tom whose injured brain erases speaking, reading, names, but through hands cupped upon bent heads, his unimpeded heart pours forth with nothing to restrict the flow of Yes in beginning and Yes in the end.
This is an updated version of the poem that appears in the print edition.