For a local example, the Seattle Art Museum currently displays one of those reexamined masterpieces, Lorenzo Ghiberti's three bronze panels from the baptistery door at the Cathedral of Florence, circa 1425 to 1452. The exhibit was organized by the High Museum of Art in Atlanta, then traveled to the Art Institute of Chicago, then the Metropolitan Museum of Art in New York before coming to Seattle.

This is a once in a lifetime experience. The story of this piece starts with a competition for a commission for another set of doors at a baptistery. In 1402-03, many artists submitted proposals to the selection committee. The two finalists were Filippo Brunelleschi and Lorenzo Ghiberti. The latter won the contest and spent 20 years completing the first set. For the second set of gates, Ghiberti abandoned the quatrefoil forms and made rectangular panels illustrating key stories from the bible. If you're looking for an example of what Italian renaissance art is, you need to visit SAM downtown.

Ghiberti trained as a goldsmith in the workshop of Bartoluccio. There were no art academies at the time so artists were educated by the guild apprentice system. Later, when Ghiberti had his own workshop, his apprentices included Donatello, Uccello, Michelozzo and Benozzo Gozzoli.

He would need help with this piece, as the work consists of 10 panels, each 31 inches square, which were placed into a door measuring 8-and-a-half feet by 3-feet, 7-inches. There are also 48 frame reliefs crafted by Ghiberti for the doors. Conservators developed new techniques using lasers to remove 500 years of pollution, varnish and other sloppy preservation efforts while preserving the gold leaf on the bronze panels. The high quality of craftsmanship caused specialists to take five years to remove four panels and eight frieze elements.

The three panels presented are from the left door taken from the top, middle and bottom positions.

At the top, the "Creation" panel gives us the multiple stories from the creation of Adam and Eve, the temptation by the serpent and the expulsion from Eden.

The middle panel is the "Jacob and Esau" story. Created with the knowledge that Florentine citizens at eye level would see the work, this is the most sculpturally elaborate panel of the group, the figures in the foreground almost seem to want to walk off the picture plane. Done using the visual vocabulary inspired by classical antiquity, Ghiberti properly earns his place as a true master of the form. So intricate is this panel that you will find that time and space are warped into ashes. Pretty good for a 500-year-old work.

The bottom panel is the classic story of David and Goliath. It is the most worn of the three due to five centuries of accidental kicks and scuffs from the public opening the doors. Each panel is encased in a special case where you can also see the back of each and even find a fingerprint that possibly could be from the artist himself.

The exhibition includes other elements of the frame, including restored and un-restored figurines from the niches created by Ghiberti as a decorative element. These incidental sculptures are part of the whole and when you view the to- scale facsimile of the doors you can understand why Michelangelo is believed to have said that they were "so fine that they might fittingly stand as the gates of paradise."

Interactive computer kiosks offer a plethora of information about the iconographic program and the conservation techniques. It is a shame that Patrizio Osticresi, the director of the Opera di Santa Maria del Fiore and the man responsible for the health and maintenance of the entire cathedral complex in Florence, could not stay for the entire run of the exhibit. His infectious enthusiasm about sharing this treasure from Italy with Seattle was the best presentation of how Italians live with the work of art today.

Ghiberti was also the first artist to write down his life story in his own words as a part of his "Commentaries." With this exhibit, we can see the emergence of what will become known as a "renaissance man," for Ghiberti also was a sculptor, painter, goldsmith, architect and author.

This is the only west coast appearance for this exhibit. After it closes May 11, it will be returned to Florence, sealed in an airtight case and never leave Italy again. If you don't see this show you will forever be kicking yourself for a major missed opportunity.

The Seattle Art Museum is located at 100 University St. Phone: 654-3100. For more information, go to www.seattleartmuseum.org.

Steven Vroom writes about the Visual Arts monthly for the Capitol Hill Times. He is the host of the Visual Art pod cast Art Radio Seattle at www.vroomjournal.com. He can be reached at editor@capitolhilltimes.com.