Donatello . stblood-relations of the Je-remiah and Zuccone.—But even the greatestof all remains, after all, inhis work within the limitsset to him by the jointknowledge of his time. Therealism of Donatellos Cam-panile statues is unsurpassedin the history of art, but itis perhaps attained at theexpense of the plastic pro-blem in the more restrictedsense of the word. Thatits upward developementends with the St. George,can be most directly per-ceived , if all these statuesare placed together in their proper order. The uniformity of the motivesof movement is surprising. In each case the arms are j
Donatello . stblood-relations of the Je-remiah and Zuccone.—But even the greatestof all remains, after all, inhis work within the limitsset to him by the jointknowledge of his time. Therealism of Donatellos Cam-panile statues is unsurpassedin the history of art, but itis perhaps attained at theexpense of the plastic pro-blem in the more restrictedsense of the word. Thatits upward developementends with the St. George,can be most directly per-ceived , if all these statuesare placed together in their proper order. The uniformity of the motivesof movement is surprising. In each case the arms are joined close tothe body, the one generally hanging straight down, the other-one the legs folds of drapery are spread. Donatello as yet adherestoo obviously to purely static considerations of massiveness. That thehuman body offers even under these conditions a whole world of possi-bilities of movement, was only to be discovered by the greatest sculptorof the late renaissance — by Terracotta-BUST. London. South Kensington Museum.(To page 46.) 49 II. FIRST STAGES OF NARRATIVE ART. MONUMENTAL SCULPTURE. RELIEF-PICTURES. Donatello had rapidly passed from the crowd of unknown young stone-cutters and assistants into the ranks of the most highly esteemed name must have been in everybodys mouth after the completion of hisSt. Mark and St. George, and, in view of his popular fame, it is of littleimportance, that his name appears in 1418, six years after his admissioninto the guild of St. Luke, among the magistri of the Opera del official connection is, nevertheless, significant for the first two decadesof his activity, for the bulk ot his work remains within the outer andlocal sphere defined by this post. This is changed in the early twenties. New tasks are put to him bynew patrons and gradually give a wider scope to his art work. SIENA. The first impetus to this change which was to be so important in itsconsequences, was given
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