Donatello . notes, but the sculptors improvisationtook permanent shape in the wax or clay sketch, and occasionally temptedto more careful elaboration. Thus originated most of the Aladon^tas whichpass to-day under Donatellos name: clay-reliefs realistically painted withwater-colours or bronzed; plaster-casts in most cases likewise polychromatic;repUcas of originals and models, and small plaques in bronze or lead. Manyof these are the work of assistants. But Vasari already refers to marblereliefs of the Madonna by Donatello, works in most delicate stiacciato, whichat his time were considered imp
Donatello . notes, but the sculptors improvisationtook permanent shape in the wax or clay sketch, and occasionally temptedto more careful elaboration. Thus originated most of the Aladon^tas whichpass to-day under Donatellos name: clay-reliefs realistically painted withwater-colours or bronzed; plaster-casts in most cases likewise polychromatic;repUcas of originals and models, and small plaques in bronze or lead. Manyof these are the work of assistants. But Vasari already refers to marblereliefs of the Madonna by Donatello, works in most delicate stiacciato, whichat his time were considered important works of greatest perfection: in thehouses of the Medici, of Jacopo Capponi, Antonio de Nobili, BartolommeoGondi, and Lelio Torelli. To these must be added the Pazzi and OrlandiniMadonnas at the Berlin Museum, which have already been mentioned (Fig. 59).The large, and more decorative, marble high-reliefs on the tomb of John on the Brancacci monument were certainly approved by Donatello, even. Fig. 130. Madonna in the Architectural Background of the Bronze Relief of the Adoration of theInfant. Padua. S. Antonio. High Altar. Cf. Fig. no. (To page 139.) 139
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Keywords: ., bo, bookcentury1900, bookdecade1900, booksubjectdonatello13861466
