. Florence in poetry, history and art . thata contest was proclaimed for the commission ofthe bronze doors of the Baptistery. Ghibertismodel, with Brunelleschis rejected one, arenow shown side by side in the Bargello Mu-seum. Brunelleschi, in chagrin, ceased to aspire forchief honors as a sculptor, but resolved to ex-cel as an architect. He, accompanied by hisyoung friend, Donatello—that is, little Don-ato, his name being Donato di Niccolo di BettoBardi, Donato, the son of Nicholas, the sonof Betto Bardi—left Florence for Rome. The two supported themselves by applyingthe goldsmiths trade—most
. Florence in poetry, history and art . thata contest was proclaimed for the commission ofthe bronze doors of the Baptistery. Ghibertismodel, with Brunelleschis rejected one, arenow shown side by side in the Bargello Mu-seum. Brunelleschi, in chagrin, ceased to aspire forchief honors as a sculptor, but resolved to ex-cel as an architect. He, accompanied by hisyoung friend, Donatello—that is, little Don-ato, his name being Donato di Niccolo di BettoBardi, Donato, the son of Nicholas, the sonof Betto Bardi—left Florence for Rome. The two supported themselves by applyingthe goldsmiths trade—most artists and sculp-tors served apprenticeship to goldsmiths—Or-cagna, Luca della Robbia, Ghiberti, Verocchio,Andrea del Sarto, Ghirlandajo, Cellini andothers—and we notice strongly the effects ofthe goldsmiths art in Angelicas angels. InRome Brunelleschi and Donatello studied theantique masterpieces to their hearts content,Donatello the statues, and Brunelleschi thearchitecture. What inspiration and ability that study ac- 152. St. George Donatello The Sculptors. complishecl may be noted in their later works,for it was after their return to Florence thatBrunelleschis buildings were erected, andDonatellos St. George in bronze in the Bar-gello Museum, whither it was removed from OrSan Michele for safe keeping, and a copy substi-tuted in its place; the marble statues of thesaints of Or San Michele, Peter and Mark^ofwhich latter Michael Angelo said he never sawa more honest face—the statues of the prophetsfor Maria del Fiore; the Marzocco, or ancientlion of Florence, now in the Bargello, wherealso is his David; the tomb of the so-called PopeJohn XXIII in the Baptistery,—all attest hisgreat ability. The Bargello, now called the National Mu-seum, has a room for his work. The echoes of a bygone strife Seemed surging round the dark Bargello;Marble and bronze sprang fresh to life Beneath the wand of Donatello. —The Earl of Crewe. His Judith with the Head of Holofernes, now
Size: 1363px × 1833px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookidflorenceinpo, bookyear1913
