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Updated: June 14, 2025
The custode of all these treasures was Bertoldo, an old sculptor, who boasted of having been the scholar of Donatello, and also heir to his art possessions. He could also point to the bronze pulpits of San Lorenzo, which he finished, as proof of his having inherited a portion of his master's spirit.
Donatello must rank with a class of poetic creations which has nearly become extinct among modern writers: he belongs to the world of Caliban, Puck, and Ariel. But besides this unique creation, the book reveals regions of thought wide, ruin-scarred, and verdurously fair as the Campagna itself, winning the mind back through history to the primitive purity of man and of Christianity.
"Bid me do so, and we are rid of him forever." "In Heaven's name, no violence!" exclaimed Miriam, affrighted out of the scornful control which she had hitherto held over her companion, by the fierceness that he so suddenly developed. "O, have pity on me, Donatello, if for nothing else, yet because in the midst of my wretchedness I let myself be your playmate for this one wild hour!
Cosimo took so much pleasure in it that he was almost always himself present, and such was his eagerness, that while Brunellesco built the sacristy, he made Donatello prepare the ornaments in stucco, "with the stone decorations of the small doors and the doors of bronze."
And yet this precious prelate was made a cardinal and after his death at Florence on Nov. 23, 1419, an exquisite monument by Donatello was erected in 1427 to his saintly memory. When the Council deposed John XXIII, Hus wrote: "Courage, friends!
"It is a pity you are not a star-gazer," observed Kenyon, also looking up. "It is higher than Galileo's tower, which I saw, a week or two ago, outside of the walls of Florence." "A star-gazer? I am one," replied Donatello. "I sleep in the tower, and often watch very late on the battlements.
He did not perceive that the David of Donatello and that of Verrocchio were unlike the marble gods and heroes with whom he would complacently compare them, nor that the bas-reliefs of the divine Ghiberti were far more closely connected with the Gothic work of Orcagna, even of the Pisans, than with those sculptured sarcophagi collected by Cosimo and Piero dei Medici.
Hawthorne's choice of this appellation is, by the way, rather singular, for it completely fails to characterise the story, the subject of which is the living faun, the faun of flesh and blood, the unfortunate Donatello. His marble counterpart is mentioned only in the opening chapter. On the other hand Hawthorne complained that Transformation "gives one the idea of Harlequin in a pantomime."
After the flight of the Medici in 1494, the bronze group of Donatello Judith with the dead Holofernes was taken from their collection and placed before the Palazzo della Signoria, on the spot where the 'David' of Michelangelo now stands, with the inscription, 'Exemplum salutis publicae cives posuere 1495.
There is certainly a providence on purpose for Hilda, if for no other human creature." "I religiously believe it," rejoined the sculptor; "and yet my mind would be the easier, if I knew that she had returned safely to her tower." "Then make yourself quite easy," answered Miriam. Kenyon now looked at Donatello. "You seem out of spirits, my dear friend," he observed.
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