Donatello . Fig. 29. Prophet (called Poggio Bracciolini).Florence. Duomo. Interior.(To pages 29 and 38.) 36. Fig. 30. St. John the Baptist. Florence. Casa Martelli.(To pages 32 and 38.) Did Donatello alsothink of such, when heworked at the two mostfamous of the statueson the Campanile — theJeremiah (Figs. 24and 26) and the Zuc-cone (Figs. 25 and 27). In the case of theZuccone the costume —the smock, open at thesides, like a chiton —speaks in favour ofthis theory, in the caseof the Jeremiah theattitude, all the motivesof which are alreadyknown from the pre-ceding statues: the rightarm hanging d
Donatello . Fig. 29. Prophet (called Poggio Bracciolini).Florence. Duomo. Interior.(To pages 29 and 38.) 36. Fig. 30. St. John the Baptist. Florence. Casa Martelli.(To pages 32 and 38.) Did Donatello alsothink of such, when heworked at the two mostfamous of the statueson the Campanile — theJeremiah (Figs. 24and 26) and the Zuc-cone (Figs. 25 and 27). In the case of theZuccone the costume —the smock, open at thesides, like a chiton —speaks in favour ofthis theory, in the caseof the Jeremiah theattitude, all the motivesof which are alreadyknown from the pre-ceding statues: the rightarm hanging downstraight, the left bent,the ponderosity similarto the St. Mark. But inthe silhouette a quasiconvulsive movementleads to purely acci-dental contrasts. Thenaked right shoulderslopes abruptly; the leftis considerably broa-dened by the attitudeof the arm and by thecloak, its preponderancebeing still further in-creased by the turn ofthe head. The cloakitself is a piece ofcloth thrown over theshoulder, and its creasedfolds are rendered withastonishing accuracy andwithout any regard forhomogeneity. It
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
