File:Donatello (1904) (14801589083).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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64 The execution remains conventional.—And also on the Naples monument,the three life-size bearers of the sarcophagus do not present entirelyharmonious creations. Their attitude is as yet in Gothic fetters, and theirforms appear too flat. Most important of the three is the figure on theright, with her serious Sybil face. Her youthful companions originate fromthe same hand as the two angels above, who fix their expressive gaze,veiled as it were by tears, upon the dead whose head is almost as wellmodelled, as that of Pope John XXIII. in Florence. But the unmistakableimpress of Donatellos personal art is borne by the most minute part of thewhole monument: by the relief of The Ascension of the Virgin, which,
Text Appearing After Image:
Fig. 55. Recumbent figure of Pope John XXIII. Cf. Fig. 54. (To pages 59 and 63.) together with its two pilasters, is let into the front ot the sarcophagusbetween two coloured coats of arms. It is altogether the only portionof the two tomb monuments that is of unimpeachable value for studyingthe character of Donatellos art: a new, grand proof of his narrative artand of his relief art. As with the Siena relief, one can safely maintain,that nobody, before or after Donatello, has treated the theme in thismanner. And again his chief medium is contrast — contrast this time onlybetween rest and movement. In the centre, floating in the air, is theVirgin enthroned, praying, perfectly still, surrounded by little cloudlets.But this singular viandorla is supporded by a crowd of angels, circlingaround it in almost wild excitement, and suggestive of antique wind-gods. 65

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