Donatello . this must be added the powerand grandeur of the figures andthe decision of their of the motifs of the Sienareliefs are still echoed. Thelanguage of gesture is the left two angels in closeembrace watch the principalscene, like the two youths be-hind the Salome in Siena.—The kinship with the Naplesrelief has been explained byPaul Schubrings subtle hypo-thesis. The Virgin in Naples isan aged woman. Tremblingly,with folded hands, she floatsheavenwards — the picture of apoor soul, delivered by , we know that Donatellosaged mother Orsa, who had livedw
Donatello . this must be added the powerand grandeur of the figures andthe decision of their of the motifs of the Sienareliefs are still echoed. Thelanguage of gesture is the left two angels in closeembrace watch the principalscene, like the two youths be-hind the Salome in Siena.—The kinship with the Naplesrelief has been explained byPaul Schubrings subtle hypo-thesis. The Virgin in Naples isan aged woman. Tremblingly,with folded hands, she floatsheavenwards — the picture of apoor soul, delivered by , we know that Donatellosaged mother Orsa, who had livedwith him, died between 1427and 1433. That back-view ota woman in the centre of theLondon St. Peter relief resemblesthis Mary as regards fervour offeeling, and in her course wrapis not unlike what the Florentinewomen of Donatellos circle musthave looked. The Virgin her- Fig. 65. Angels from the Tabernacle of the Annun-ciation IN s. Croce. cf. Fig. 60. (To pages 74 and 78.) Self is uot generally introduced. n into representations ofthis scene. Is it notpossible, that this fi-gure, too, is connectedwith the death of hismother, and that thewhole relief may, per-haps, have been con-ceived as decorationfor her resting-place?Hitherto it has gene-rally been connectedwith Donatellos laterwork for St. Peters inRome. But St. Peteralso gave the name tothe district, in whichDonatellos parents hadtheir home: S. Pietroin Gattolino. If therelief had been workedfor the Roman churchof St. Peters, it couldonly represent part ofan unknown, largerscheme, perhaps of analtar; but Bocchi al-ready describes it asan independent piece of sculpture. — The relief for the Naples tomb monument, which wasexecuted in Pisa about 1427, may also be dragged into the discussionof one of Donatellos earliest and most charming Madonna reliefs. Twooval plaster copies, in the South Kensington Museum and in the WernerWeisbach collection in Berlin (Fig. 58), represent slight variations of a sconethat reminds one of V
Size: 1156px × 2161px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
