File:Donatello (1904) (14778573151).jpg

Identifier: donatello00meye (find matches)
Title: Donatello
Year: 1904 (1900s)
Authors: Meyer, Alfred Gotthold Konody, Paul G. (Paul George), 1872-1933
Subjects: Donatello, 1386?-1466
Publisher: Bielefeld and Leipzig : Velhagen & Klasing
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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t only through thehead and extremities, but throughthe whole human body. It wasactive already in the princess ofthe St. George relief If, on theother hand, a few faces on theSalome relief show the thickening of the root of the nose, which had been introduced by Querela, this is theless important, as it is already perceptible in the St. George of Or SanMichele. — But even supposing that Donatello had worlced on a sketch byQuerela — the composition, as we see it now, bears the imprint of hispersonality. Querela offers no analogy for the way in which Donatello hasseized and accentuated the very wildness of the subject. Nay, Donatellois here again a long way ahead of his time. From this narrative it isonly a short step to Raphaels Death of Ananias.— And also as regardsmere form, the relief-treatment, in its characteristic contrast to the stonepicture of the fight with the dragon at Or San Michele, proves Donatellosastounding maturity. The reUef recedes from almost complete roundness
Text Appearing After Image:
Fig. 45. Cappadocian Kings Daughter of theSt. George Relief. Cf. Fig. i. (To pages 55 and 72.) 54 to the flatness of a medallion. It seems, as though Donatello had intimateknowledge of the late classic relief style which prevails in the reliefs of thearches of Titus and Constantine in Rome. Yet the Salome relief still retainssome archaic features. The greater part of the secondary figures in thebackground is covered by the breast-walls of the arcade-architecture whichfills the entire upper half of the panel. Between these arcades, which extendin a parallel line to the frame, is a narrow passage, in which appears thefirst row of figures: two men from the entourage of Herodes, and the ^^L,^«,^^^K ^^^^^^^^11 RP^^nBI^^Ev H . ^^^^HH \ ■/. .^MF^^I^B^ 1 i K -^^^^IBmi A i llfl \ ;j*j ■J ^^P^^ ^^^^^^^^^v^ ^^^^^^Hl ^ ^?Wi H i^H k f a ;m ^Kj^^V ^^^^^^^^^^^^11 ^^^^^H^bB^4I iS^I pipP 1^1 ^^^^^B^^rv» >>-~. ^^LZrirJ^^^^^^Bt BH Fig. 46. Statuette of Fides (Faith). Siena. Cliristeningfont.

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