Donatello . oks were evi-dently only meant for catch-words.—Already at the end of 1408 the youngsculptor received the commission for oneof the four seated colossal figures of thecathedral front (Fig. 3). It was now nolonger a work subordinated by dimen-sions and position, but a monumentalstatue, with which he had to enter intocompetition with his elder fellow artists,Niccolo dArezzo, Bernardo Ciuffagni andNanni di Banco. When his work, St. Johnthe Evangelist (Fig. 7), was placed in atabernacle by the side of the porch, itmust have shown his superiority even more strikingly than now, when — aft
Donatello . oks were evi-dently only meant for catch-words.—Already at the end of 1408 the youngsculptor received the commission for oneof the four seated colossal figures of thecathedral front (Fig. 3). It was now nolonger a work subordinated by dimen-sions and position, but a monumentalstatue, with which he had to enter intocompetition with his elder fellow artists,Niccolo dArezzo, Bernardo Ciuffagni andNanni di Banco. When his work, St. Johnthe Evangelist (Fig. 7), was placed in atabernacle by the side of the porch, itmust have shown his superiority even more strikingly than now, when — after the destruction of the old cathedralfront in 1588 — it stands, scarcely recognizable, like its former neighbours,in one of the dark choir-chapels — the first on the left. But it was, doubtless, his statues for Or San Alichelc, that made Dona-tellos name popular. The plan of decorating each outer pilaster of this build-ing with one of the patron saints of the Florentine guilds (Fig. 5), a plan that. Fig. 8. St. Peter. San Michele. (Nanni di Banco?)(To pages 14 and 25.) 14
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
