Donatello . Fig. 70. Tomb-STONE of Giovanni Sa. Maria in Aracoeli. (To page 78.) 78 in Rome: the tomb-stone of the papal abbreviatore Giovanni Crivelli of Milan(died July 28. 1428), which has unfortunately suffered so much from thetouch of passing feet, that one can only surmise the original delicacy of therecumbant figure (Fig. 70). Here, too, the tondo with the coat of armsabove the shell-roofed niche is held by two putti in energetic action. Apart from their lineage and sentiment, the putti of the marble taber-nacle of St. Peters have another and additional significance which
Donatello . Fig. 70. Tomb-STONE of Giovanni Sa. Maria in Aracoeli. (To page 78.) 78 in Rome: the tomb-stone of the papal abbreviatore Giovanni Crivelli of Milan(died July 28. 1428), which has unfortunately suffered so much from thetouch of passing feet, that one can only surmise the original delicacy of therecumbant figure (Fig. 70). Here, too, the tondo with the coat of armsabove the shell-roofed niche is held by two putti in energetic action. Apart from their lineage and sentiment, the putti of the marble taber-nacle of St. Peters have another and additional significance which refersback to the scene of the annunciation at S. Croce. The youthful bodies. Fig. 71. Christ mourned by Angels. London. South Kensington Museum. (To page 8i.) cling to the pilasters in the full corporeity of agitated life, and their mannerof crowding with their wings into and around the corners, heightens theplastic effect of the architectural setting. With all this, and inspite of theabundance of forms, the whole remains a genuine relief-picture with subtlegradations from almost full to entirely flat forms: an instance that shouldserve to show how far the sculptor may go, without overstepping thelimitations of his art and losing himself in the triteness of living same principle holds good in the predella within the conditions offlat relief, for the putti squatting on sharply bent knees are here representedin full front-view — a motive also used for the sarcophagus in the sacristyof S. Lorenzo, which subsequently becomes tiresome through frequentrepetition. But now, in the principal pictorial part of this tabernacle — the 79 decoration of the
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
