Donatello . mpletion and are totally different as re-gards aims and form: show-pieces in a public thoroughfare, square panels, inbroad daylight, placed one on top of the other and treating different the difference of style goes beyond these deviations of the task. Ghibertifills his panels with figures and scenes that are exquisitely co- and sub-ordinated, without regulated planes and without severe divisions. Themovement is irregularly distributed over the ground, or it tends from thebackground to the front; whilst with Donatello it spreads as in the fore-ground of the stage, and
Donatello . mpletion and are totally different as re-gards aims and form: show-pieces in a public thoroughfare, square panels, inbroad daylight, placed one on top of the other and treating different the difference of style goes beyond these deviations of the task. Ghibertifills his panels with figures and scenes that are exquisitely co- and sub-ordinated, without regulated planes and without severe divisions. Themovement is irregularly distributed over the ground, or it tends from thebackground to the front; whilst with Donatello it spreads as in the fore-ground of the stage, and the greatest possible number of heads are placedin the same height. The old, predella-like band-composition is still not only the grouping is entirely different, but also the thinks like a goldsmith. He even attaches the figures in the im-mediate foreground after having shaped them in the round, and modelsthe others in high relief, as though he were embossing a metal plaque. —. Fig. 115. PiETa. Bronze Relief. London. South Kensington Museum. (To page 124.) 122
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
