Donatello . the rows ofteeth and the pupils, is the more striking, as its clear outlines are inconsistentwith the impressionist style of the reliefs of St. Peter and the infinitely greater is the delicacy, with which Donatello has renderedchildlike forms and hair in the relief of St. John the Baptist in the Bargello! Meyer, Donatello. O 82 He now seems to have altogether turned classicist as regards his feelingfor form. This appears most clearly, where he gives a revised versionof a subject already treated. A marble relief, now at the Lille Museum,presents the same scene as the
Donatello . the rows ofteeth and the pupils, is the more striking, as its clear outlines are inconsistentwith the impressionist style of the reliefs of St. Peter and the infinitely greater is the delicacy, with which Donatello has renderedchildlike forms and hair in the relief of St. John the Baptist in the Bargello! Meyer, Donatello. O 82 He now seems to have altogether turned classicist as regards his feelingfor form. This appears most clearly, where he gives a revised versionof a subject already treated. A marble relief, now at the Lille Museum,presents the same scene as the bronze panel of the font in Siena — butthis time in the spirit of antique Roman art, which is already indicated bythe background. It is the result of the impression left upon the Florentinesmind by the ruins of ancient Rome. The simple colonnades are changedinto varied court-architecture. On the right can be seen a high staircase,at the back imposing arcades shut off by folding-doors, on the left a gallery. Fig. 75. Casement of the Pulpit. Duomo. Prato. (To page 84.) with a gabled root supported by columns. Herod is carousing in front ofthis gallery, but Salome dances in the midst of the court, and in the fore-ground on the right, as well as before the doors of the background, silentmen stand waiting. What in the Siena relief is crowded with almostGiottesque tightness into the narrowest space, is here freely spread overa wide, deep stage. The fetters, in which the Sienese relief is held throughthe stratiforrn receding of parallel walls, are now loosened. In the back-ground of the Lille representation the influence ot that old constraint isstill slightly perceptible, but in the foreground it has entirely Salome has room for her dance, and actually whirls round orgiastically. 83 A detailed comparison of these two reliefs is well worth the trouble: itshows, how the motives of movement of the earlier representation are trans-ferred from figure to figure and yet i
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
