Donatello . Fig. 20. St. John the Baptist. Florence. Campanile. West- front. After a photograph from the original by Alinari Brothers, Florence. (To page 33.) n. Fig. 21. Abraham and Isaac. Florence. Campanile. East-front. (To page 34.) first sudy of the nude by Donatello, the reaHst; his first nude figure. But this figure casts a curious spell. There is something touching about its simplicity. The reflection of suffering bestows nobility of soul upon the features, and the strong peasants body intensifies twofold the feeling of helplessness. The sharp, angular contrasts and interruptions of th
Donatello . Fig. 20. St. John the Baptist. Florence. Campanile. West- front. After a photograph from the original by Alinari Brothers, Florence. (To page 33.) n. Fig. 21. Abraham and Isaac. Florence. Campanile. East-front. (To page 34.) first sudy of the nude by Donatello, the reaHst; his first nude figure. But this figure casts a curious spell. There is something touching about its simplicity. The reflection of suffering bestows nobility of soul upon the features, and the strong peasants body intensifies twofold the feeling of helplessness. The sharp, angular contrasts and interruptions of the principal lines are as far removed from harmony, as they are in old Dutch paintings, and yet the general effect is plastically compact. Even here the limner of statues affirms himself, although we are probably dealing with an early work. The detail, too, points towards relationship with the marble David of the Bargello rather, than with any other work. * * 28 STATUES FOR THE CAMPANILE. 1416 — SINGLE FIGURES AND PORTRAITS. Statuesquely conceived single figures continue to remain Donatellosprincipal tasks during the next decade, and far int
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