Donatello, by Lord Balcarres by Earl of David Lindsay Crawford
page 30 of 263 (11%)
page 30 of 263 (11%)
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of Donatello on the western face of the tower, shows Rosso to have
been a correct and painstaking sculptor, with notions much in advance of Ciuffagni's; noticeable also for a refinement in the treatment of hands, in which respect many of his rivals lagged far behind. Judging from the inscription at Verona, Rosso was appreciated by others--or by himself:[13] he is, in fact, an artist of merit, rarely falling below a respectable average in spite of the frequency with which he changed his style. [Footnote 13: On the Brenzoni tomb in the Church of San Fermo: "Quem genuit Russi Florentia Tusca Johañis: istud sculpsit opus ingeniosa manus."] * * * * * [Sidenote: St. John the Baptist.] Rosso does not compare favourably with Donatello. Obadiah is less attractive than St. John the Baptist, its _pendant_. The test is admittedly severe, for the St. John is a figure remarkable alike in conception and for its technical skill. Were it not for the scroll bearing the "Ecce Agnus Dei," we should not suggest St. John as the subject. Donatello made many Baptists--boys, striplings and men young and mature: but in this case only have we something bright and cheerful. He is no mystic; he differs fundamentally from the gloomy ascetic and the haggard suffering figures in Siena and Berlin. So far from being morose in appearance, clad in raiment of camel's hair, fed upon locusts and wild honey, and summoning the land of Judæa to repent, we have a vigorous young Tuscan, well dressed and well fed, standing in an easy and graceful attitude and not without a tinge of |
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