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Updated: May 27, 2025
Such is this Renaissance art of medals, this side branch of the great realistic portraiture in stone of the Benedettos, Desiderios, and Rossellinos; a perfect thing in itself; and one which, if we muse over it in connection with the more important works of fifteenth century sculpture, will perhaps lead us to think that, as the sculpture of Antiquity, in its superb idealism, its devotion to the perfect line and curve of beauty, achieved the highest that mere colourless art can achieve thanks to the very purity, sternness, and narrowness of its sculpturesque feeling so also, perhaps, modern sculpture, should it ever re-arise, must be a continuation of the tendencies of the Renaissance, must be the humbler sister of painting, must seek for the realistic portrait and begin, perhaps, with the realistic medal.
There had been one awful time when it had looked as if the carriages and horses would have to go and they would be reduced to sharing a barouche with some one else in secret, proud distress like the Manzios and the Benedettos who took their airings alternately, each with a different crested door upon the identical vehicle but Mamma had overcome that crisis and the social rite of the daily drive upon the Pincian had been sacredly preserved.
They may be Pharisees or anything else you like, but I fear that if this old religion is subjected to so much retouching and restoring, it will tumble down, and nothing will be left standing. Besides, if we followed these Benedettos, too many things would have to be changed. No, no! However, the man interests me extremely. Now we must try to see him. We must see him!
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