In and out of Florence; a new introduction to a well-known city . nd Ghibertiin competition for the commission to do the bronzedoors of the Baptistry. The justice of the decision forGhiberti is quickly evident. Brunelleschi makes thereal scene, the sacrifice interrupted by the angel, onlya sort of upper story incident while the waiting horseand two attendant figures below stand most conspicu-ous. Ghiberti with all the same figures in his com-position—probably a stipulation of the competition—tucks his horse and attendants neatly and undistract-ingly away into small compass, leaving Abraham,Isa
In and out of Florence; a new introduction to a well-known city . nd Ghibertiin competition for the commission to do the bronzedoors of the Baptistry. The justice of the decision forGhiberti is quickly evident. Brunelleschi makes thereal scene, the sacrifice interrupted by the angel, onlya sort of upper story incident while the waiting horseand two attendant figures below stand most conspicu-ous. Ghiberti with all the same figures in his com-position—probably a stipulation of the competition—tucks his horse and attendants neatly and undistract-ingly away into small compass, leaving Abraham,Isaac, and the angel their rightful center of the stage. In the adjoining room are Cellinis little wax andbronze models (differing slightly) for his Perseusin the Loggia dei Lanzi,—he tells of these littlemodels, with characteristically entertaining egotism, inthe last chapter of his Treatise on Sculpture,—and an animated framed relief of Perseus liberatingAndromeda, with all the characters. There are alsoin this room a whole series of Giovanni da Bolognas. Photo, Brogi NlCCOLO DA UZZANODonatello: Bargello Palazzo Vecchio and II Bargello 149 bronzes, among them his patched flying Mercurywith its inimitable air of lightness, a small model ofhis Rape of the Sabines of the Loggia, and twocharming piitti with fish evidently designed for afountain. Here is also a delightful small bronze headof a boy, attributed, but with some growing uncer-tainty, to Desiderio da Settignano. In the chapel, a small room entered from thesaloon of tapestries, cloths, ivories, and enamels, withits intarsia stalls, is the famous Dante death mask;and in the fresco of Paradise above it, the restoredportrait of Dante holding a flower—(this head hasbeen redrawn as a framed picture below hanging atthe right of the mask). These apparently authenticportrayals of Dantes face are of much interest, andreveal the inaccuracy of many of the more familiarportraits. On the floor above are the rooms of the dellaR
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Keywords: ., bookcentury1900, bookdecade1910, bookidinoutofflore, bookyear1910
