Appreciation of sculpture; a handbook by Russell Sturgis ... . igid by theeffort,—it is as if it were evident that a forceother than physical were acting here, thoughin defiance to sculpturesque work, admired as it is and has been,is a production of the mans old age. Butthe Sabine is of 1582 when Bologna was stillshort of sixty; a good age for the master-piece of a vigorous man ; and artists are al-ways a long-lived race. It is a noble group :and in one respect among the most remark-able works of European sculpture,—in thefaultless lines and masses as shown in allthe hundred po
Appreciation of sculpture; a handbook by Russell Sturgis ... . igid by theeffort,—it is as if it were evident that a forceother than physical were acting here, thoughin defiance to sculpturesque work, admired as it is and has been,is a production of the mans old age. Butthe Sabine is of 1582 when Bologna was stillshort of sixty; a good age for the master-piece of a vigorous man ; and artists are al-ways a long-lived race. It is a noble group :and in one respect among the most remark-able works of European sculpture,—in thefaultless lines and masses as shown in allthe hundred points of view which its out-of-door situation allows. Plate XXIX presents the work of Gio-vanni Lorenzo Bernini (1598-1680) thefamous architect who was brought fromItaly by Louis XIV and set to work on adesign for a Louvre of Italian scheme failed, the design was not ac-cepted, the famous artist at whose feet laythe art of Italy had to relinquish his holdupon France, in which land he left merelythat portrait statue of the great King Louis[120]. Plate XXIX.—STAifK ok damei. i hk i-koi-uki, hv hkknim, in THE CHIGI CHAIEL, CHURCH OF S. MARIA DEI. , ROME. Italian Decadence—French Transition which was destined to disappear in thetempests of the Revolution. In Italy Ber-nini is known also as an architect, and itmay well be that his huge colonnades wereeven during his lifetime admired by morepersons than could be expected to enjoy hissculpture. Fully as much as in the case ofSansovino, fully as much as with the earliermen, the sculptors of the true Risorgimento,did Bernini conceive of sculpture as hisown, his personal work, and his architectureas in a way the secondary achievementwhich every powerful and original artist ofthe time had need to undertake. The statue of the prophet Daniel, whichis shown in the plate, is as perfect a piece ofmodelling and as simple a piece of thoughtas his work affords. There is certainlynothing in it of that pomposity o
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectsculpture, bookyear19
