Question: What did Florentine art show?
About the article "Michelangelo", section "Figure compositions".

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In July 2001, Florentine released "Terrorizing Telemarketers Volume 1".
After numerous plays on the "Howard Stern Radio Show", his CD ranking on Amazon.com went from 282,363 to number 2.
The only artist ahead of him was the Backstreet Boys.
Later that week, Florentine's CD came in at #17 on the Internet Billboard charts.
After the release of "Terrorizing Telemarketers Volume 2" in late 2001, Jimmy Kimmel and Adam Carolla took a liking to Florentine's prank calls and hired him for a show to debut in June 2002 on Comedy Central called "Crank Yankers".
Florentine played Special Ed, a mentally retarded teenager, and Bobby Fletcher, a despicable, alcoholic slob who is the older cousin of Ed.
After season 1, Eminem took a liking to Florentine's characters and flew him out to his Detroit studio to do prank calls together for the upcoming season of "Crank Yankers".
The following year in 2004, Eminem and Florentine did a bit together on the MTV Music awards show where Eminem beat up Special Ed, who kept annoying him (and tore his leg off).
"Crank Yankers" lasted three seasons on Comedy Central.
The show moved over to MTV2 in 2006 for one season.
Florentine's Special Ed character that he created is still played at various sporting events at stadiums across the USA.
Florentine was featured on the series premiere of "Down and Dirty with Jim Norton", a stand-up comedy series that aired on HBO on October 3, 2008.
The series spotlights new and established talent, including Artie Lange, Bill Burr ("Chappelle Show"), Patrice O'Neal, and Andrew Dice Clay.
Lemmy, leader of the heavy metal band Motörhead, serves as the musical director.
Later that year, "That Metal Show" which Florentine hosts made its debut on VH1 Classic.
It is described as "The Tonight Show for AC/DC fans".
He is also co-hosting along with Eddie Trunk and Don Jamieson.
Florentine has been seen on "The Apprentice", Comedy Central's "Mother Load", HBO's "Inside the NFL", "The Late Late Show with Craig Kilborn", "The Opie and Anthony Show", "The Howard Stern Show", Spike TV's "Video Game Awards", "MTV Music Video Awards", "Jimmy Kimmel Live!
", "Last Call with Carson Daly", "Tough Crowd" with Colin Quinn on Comedy Central, VH1's "The List", and Louie Anderson's "Comedy Showcase".
He also voiced the redneck radio host Bobbie Ray in the video game "".
He has a series of prank call CDs known as "Terrorizing Telemarketers" Volumes 1–5.
The CDs feature a series of recorded telephone conversations, often with Florentine receiving calls from telemarketers, wherein he turns the tables on often aggressive salespeople by being deliberately difficult and creating awkward situations.
In 2004, he worked one season on HBO's "Inside the NFL" performing various comedy sketches.
The show won an Emmy that season and Florentine has proudly said in various interviews that when he was single he kept it on his night stand and it would close the deal anytime he had a date over.
He called it his "Mariano Rivera".
At the same time, Florentine released two hidden camera DVDs called "Meet The Creeps" where he and his partner Don Jamieson pull outrageous pranks on people.
The DVD has got in the hands of some "Comedy Central" executives and they brought "Meet The Creeps" to their broadband channel called "Motherload".
After the two successful seasons, Comedy Central did a "Meet The Creeps" pilot for the network.
The pilot was deemed too mean spirited and the show never made it on the network.
Between 2004 and 2008, he made three appearances on "Jimmy Kimmel Live!"
on ABC.
He also appeared on "The Late Late Show Craig Kilborn".
In 2007, Florentine appeared on the last episode of "The Apprentice" in season 4 doing his edgy stand-up comedy at a conservative charity event.
He asked Trump's partner George if he wears a diaper.
He has not appeared on "The Apprentice" since.
He is an occasional guest on the late-night Fox News Channel show "Red Eye w/ Greg Gutfeld".
Later in 2010, Florentine appeared in the feature film "A Little Help" as Brian.
In 2011, Florentine launched his weekly podcast called "Comedy, Metal, Midgets".
It is one of the most popular comedy podcasts landing in the top 20 every week.
On October 25, 2011, Florentine released his stand-up CD on Metal Blade Records called "Cringe N Purge".
It landed at #3 on the iTunes charts and #5 on the Comedy Billboard Charts.
In June 2012, Florentine hosted the OMA Awards for MTV that aired worldwide.
In August 2012 That Metal Show that Jim co hosts on VH1 Classic will be going into its 11th season.
Florentine also opened for the band Metallica at Orionfest festival which attracted over 50,000 fans.
On September 4, 2012, Florentine released his second CD on Metal Blade Records called "Awful Jokes From My First Comedy Notebook".
That CD also landed at #3 on the iTunes Charts and No.
10 on the Comedy Billboard Charts.
Jim is only the third comedian ever to have two CDs land in the top 10 in the same year.
The concept for this CD was that Jim stumbled across his first comedy notebooks from when he first started doing comedy back in the early 1990s.
He could not believe how bad his early jokes were and decided to share them with his fans and went into a recording studio and read his awful jokes directly out of his notebook.
The CD has received critical acclaim in the comedy world for taking a huge risk.
On April 17, 2013, radio personality Marc Maron posted a lengthy interview with Florentine on his "What the Fuck" podcast series.
On September 15, 2013 Florentine's voice will be heard on Adult Swim's "Aqua Teen Hunger" and he will soon be seen on the upcoming season of "Girls" and "Californication."
The Compagnia dei Bardi was a Florentine banking and trading company which was started by the Bardi family.
The Bardi company was one of three major Florentine banking companies (called "super-companies" by some modern scholars) that assembled large amounts of capital and established wide-ranging, diversified business networks, doing business throughout the Mediterranean and in England.
The Bardi traded oil and wine, and had close economic ties to southern Italy and Sicily.
Their chief product, however, was high-quality woolen cloth.
The Bardi were the largest of these super-companies and seem to have been 50 percent larger than their closest rival, the Peruzzi company.
In 1344, at about the same time as the Peruzzi company, the Bardi company went bankrupt and the Florentine writer Giovanni Villani blamed this on the repudiation of war loans by King Edward III of England.
However, Villani was not an independent source; his brother was a member of the Peruzzi company that also went bankrupt.
Villanni said that Edward owed the Bardi 900,000 gold florins (£135,000) and the Peruzzi 600,000 (£90,000).
However, the Peruzzi's records show that they never had that much capital to lend Edward III.
Edward did not default on all his loans and repaid some with cash and others with royal grants of wool, a principal export of the English economy at the time.
At the time Florence was going through a period of internal disputes and the third largest financial company, the Acciaiuoli, also went bankrupt and they did not lend any money to Edward.
What loans Edward III did default on are likely only to have contributed to the financial problems in Florence, not caused them.
The bankruptcy of the Bardi and Peruzzi companies marked the decline of the medieval super-companies.
However, Bardi survived, and significantly, provided the funds for several of the voyages of discovery to the Americas. 
Both the making of art, the academic history of art, and the history of art museums are closely intertwined with the rise of nationalism.
Art created in the modern era, in fact, has often been an attempt to generate feelings of national superiority or love of one’s country.
Russian art is an especially good example of this, as the Russian avant-garde and later Soviet art were attempts to define that country’s identity.
Most art historians working today identify their specialty as the art of a particular culture and time period, and often such cultures are also nations.
For example, someone might specialize in the 19th-century German or contemporary Chinese art history.
A focus on nationhood has deep roots in the discipline.
Indeed, Vasari's Lives of the Artists is an attempt to show the superiority of Florentine artistic culture, and Heinrich Wölfflin's writings (especially his monograph on Albrecht Dürer) attempt to distinguish Italian from German styles of art.
Many of the largest and most well-funded art museums of the world, such as the Louvre, the Victoria and Albert Museum, and the National Gallery of Art in Washington are state-owned.
Most countries, indeed have a national gallery, with an explicit mission of preserving the cultural patrimony owned by the government—regardless of what cultures created the art—and an often implicit mission to bolster that country’s own cultural heritage.
The National Gallery of Art thus showcases art made in the United States, but also owns objects from across the world. 
Pietro Orioli was born in Siena in Tuscany.
The art of Siena has previously been celebrated primarily for its late medieval masters such as Duccio, Simone Martini, and Ambrogio and Pietro Lorenzetti; Orioli arose in the next century, and the art in Siena of this period has been generally overshadowed by the art of Florentine masters of the Quattrocento.
In 1458 the Sienese cardinal Aeneas Sylvius Piccolomini was elected as Pope Pius II.
The period between this date and the end of the Sienese republic in 1558 saw the development of a unique style of art from the city state, showing tendencies towards some of the more ethereal properties of the golden age of Sienese art rather than the studied realism and veneration of classical aesthetics and principles which drove many artists within the more celebrated centres of Florence, Rome and Venice.
The artistic development along the line of more international gothic styles would have meant that these more famous artistic schools would probably have considered contemporary Sienese art somewhat archaeic and unfashionable.
Orioli had a relatively short artistic career (he died aged 37, and was only active independently from 1480), but his work is nonetheless important in the context of Sienese art of the period.
He was a pupil of the painter Matteo di Giovanni who was very much a product of the quattrocento Sienese school.
He is also known to have worked with the celebrated Francesco di Giorgio, a painter, sculptor and former pupil of probably the most famous Sienese sculptor of the period Il Vecchietta.
It is therefore possible to deduce that Orioli was active within a circle of quintessentially Sienese artists.
His first documented work is "Christ Washing the Feet of the Apostles" (1489), found in the Baptistry in Siena.
Other important works include "Madonna and Child with Saint Jerome and a Female Saint" (c. 1490), a "Nativity" (c. 1494-96), and an "Adoration of the Shepherds" dating to the last part of his career.
Stylistically, Orioli's work seems to related be to that of his Florentine contemporary, Botticelli.
His painting can similarly be described as 'non-realist'.
He uses pale hatching unrelated to the landscape or architecture to reinforce the contours of his figures in a way that is similar to Botticelli's "St Zenobius panels" in the National Gallery, London.
Botticelli in fact uses this device later than Orioli, suggesting that either the two knew each other, or Botticelli regarded the Sienese artist very highly.
Orioli's works, though very much a part of his city's artistic school, also show some more Florentine traits.
His figures have a characteristically Sienese mystical quality, but also show a careful adherence to the rules of human anatomy and perspective.
This can be seen most obviously in his c.1493 work "Sulpitia".
This was part of a series of panels, the others being "Judith" by Matteo di Giovanni, "Artemisia" by the Master of the story of Griselda and "Claudia Quinta" by Neroccio di Landi and the Master of the Story of Griselda (all Sienese).
Whilst the latter paintings show varying dgrees of success in presenting their characters realistically on painted plinths, Orioli's stands much more believably.
Furthermore when seen together Orioli's figure has a dramatic, fulsome quality, with a naturalistic pose compared to the other figures which are demonstrably within the Gothic tradition of awkward, stylised poses.
Orioli was stylistic similar to the contemporaries operating within his home city, as well as being related to the highly celebrated Florentine Botticelli, who he may have influenced.
His work differs from that of some of his kinsmen, however, in showing what would have been seen by those outside Siena as a more modern approach.  
Lorenzo Ghiberti () (1378 – 1 December 1455), born Lorenzo di Bartolo, was a Florentine Italian artist of the Early Renaissance best known as the creator of the bronze doors of the Baptistry of Florence Cathedral, called by Michelangelo the "Gates of Paradise".
Trained as a goldsmith and sculptor, he established an important workshop for sculpture in metal.
His book of "Commentari" contains important writing on art, as well as what may be the earliest surviving autobiography by any artist.