Donatello . Fig. 58. Madonna and Angels. Berlin. Property of Dr. Werner Weisbach.(To pages 71 and 141.) 67. Fig. 5g. Marble Relief from the Casa Pazzi in Florence. Berlin. Royal Museum. (To pages 72 and 138.) are headed by the marble relief of Christ handing the key to St. Peter(Fig. 57), which came to the South Kensington Museum from the Campanacollection. As far back as 1591, Francesco Bocchi, the author of thebombastic panegyric on Donatellos St. George, praises this quadro diniarmo, which then belonged to the Salviati family in Florence. On thefirst glance it will be recognized as the form
Donatello . Fig. 58. Madonna and Angels. Berlin. Property of Dr. Werner Weisbach.(To pages 71 and 141.) 67. Fig. 5g. Marble Relief from the Casa Pazzi in Florence. Berlin. Royal Museum. (To pages 72 and 138.) are headed by the marble relief of Christ handing the key to St. Peter(Fig. 57), which came to the South Kensington Museum from the Campanacollection. As far back as 1591, Francesco Bocchi, the author of thebombastic panegyric on Donatellos St. George, praises this quadro diniarmo, which then belonged to the Salviati family in Florence. On thefirst glance it will be recognized as the formal pendant to the Naples was, of course, only possible through Donatello departing from thetraditional composition and raising the figure of Christ into the result was a principal group which reminds most of Nanni di Bancospediment over the porta delta mandorla of the Duomo in Florence, wherethe floating Mary hands down her girdle to St. Thomas. But in Nanniswork it was a question of filling a mural triangle with almost round figures,whilst Donatello wished to produce another rel
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
