File:Donatello (1904) (14779380264).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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
Fig. 70. Tomb-STONE of Giovanni Crivelli.Rome. Sa. Maria in Aracoeli. (To page 78.) 78 in Rome: the tomb-stone of the papal abbreviatore Giovanni Crivelli of Milan(died July 28. 1428), which has unfortunately suffered so much from thetouch of passing feet, that one can only surmise the original delicacy of therecumbant figure (Fig. 70). Here, too, the tondo with the coat of armsabove the shell-roofed niche is held by two putti in energetic action. Apart from their lineage and sentiment, the putti of the marble taber-nacle of St. Peters have another and additional significance which refersback to the scene of the annunciation at S. Croce. The youthful bodies
Text Appearing After Image:
Fig. 71. Christ mourned by Angels. London. South Kensington Museum. (To page 8i.) cling to the pilasters in the full corporeity of agitated life, and their mannerof crowding with their wings into and around the corners, heightens theplastic effect of the architectural setting. With all this, and inspite of theabundance of forms, the whole remains a genuine relief-picture with subtlegradations from almost full to entirely flat forms: an instance that shouldserve to show how far the sculptor may go, without overstepping thelimitations of his art and losing himself in the triteness of living pictures.The same principle holds good in the predella within the conditions offlat relief, for the putti squatting on sharply bent knees are here representedin full front-view — a motive also used for the sarcophagus in the sacristyof S. Lorenzo, which subsequently becomes tiresome through frequentrepetition. But now, in the principal pictorial part of this tabernacle — the 79 decoration of the

Note About Images