Appreciation of sculpture; a handbook by Russell Sturgis ... . le conceptions. It is not known whatwere the peculiarities of Minos trainingwhich helped him to be the singularly per-fect sculptor of sentiment which he the great churches of Central Italy, hiswall-tombs and his admirable altar-piecesappeal, more strongly than any work of thetimes, to that general sentiment, that non-artistic feeling for what is delicate and re-fined, which persons not artists but giftedwith the inquisitive and searching eye, feelto an extent greater than sculptors. Thusin the Church of the Badia {i. e.,
Appreciation of sculpture; a handbook by Russell Sturgis ... . le conceptions. It is not known whatwere the peculiarities of Minos trainingwhich helped him to be the singularly per-fect sculptor of sentiment which he the great churches of Central Italy, hiswall-tombs and his admirable altar-piecesappeal, more strongly than any work of thetimes, to that general sentiment, that non-artistic feeling for what is delicate and re-fined, which persons not artists but giftedwith the inquisitive and searching eye, feelto an extent greater than sculptors. Thusin the Church of the Badia {i. e., ahbadiaor conventual church) of Florence there is,in addition to several most important andcharming wall-tombs, a ceremonial altar-piece with three panels representing theMadonna, San Lorenzo on her right (thespectators left) and San Leonardo (see PlateXXIV). These altar-backs were providedin case of their possible need. It seems tohave been felt that sooner or later an altarwould be erected here in accordance withthat easy-going Italian way of handling[94]. < J < vA P 5 2 , o ?^ to The Italian Revival sacred appliances, disregarding boldly thetradition about orientation so dearly lovedin the north ; and that, at all events, thewall needed the beautiful relief in that par-ticular place. Similar pieces by Mino him-self exist in the Cathedral at Fiesole, in theChurch of Saint Ambrogio at Milan, in oneof the great basilicas at Rome. In SantaMaria del Popolo are two magnificent reta-hles by unknown hands ; and in the Churchof Santa Croce, the special gathering placefor noble tombs, there is also by the mightyhand of Donatello a relief of The Annuncia-tion, unique among his works and unsur-passed in beauty and dignity by anythingsince the time of the Greeks. The same delicate human interest whichinspires the three figures shown in PlateXXIV, which are treated almost as if theywere statues in the round is to be foundalso in the beautiful Justice carved on thesmooth wall back o
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
