Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 14, 2025
Kenyon the sculptor, who chanced to be passing the head of the street, took note of that ethereal kiss, and wished that he could have caught it in the air and got Hilda's leave to keep it. Donatello, while it was still a doubtful question betwixt afternoon and morning, set forth to keep the appointment which Miriam had carelessly tendered him in the grounds of the Villa Borghese.
Here, for example, is that famous figure of Abundance, in grey stone, which Donatello made for the old market, where the Piazza Vittorio Emmanuele now is, in the midst of which she poured forth her fruits from a cornucopia high on a column for all to see. Opposite is a magnificent doorway designed by Donatello for the Pazzi garden.
He shuddered, and looked fearfully round, drawing nearer to Miriam, whose attractive influence alone had enticed him into that gloomy region. "What a child you are, poor Donatello!" she observed, with the freedom which she always used towards him. "You are afraid of ghosts!" "Yes, signorina; terribly afraid!" said the truthful Donatello.
More perfect in craftsmanship and in the knowledge of anatomy than Donatello, Verrocchio here, where he seems almost to have been inspired by the David of his master, surpasses him in energy and beauty, and while Donatello's figure is involved with the head of Goliath, so that the feet are lost in the massive and almost shapeless bronze, Verrocchio's David stands clear of the grim and monstrous thing at his feet.
"On the left of that last shrine," asked the sculptor, as they rode, under the moon, "did you observe the figure of a woman kneeling, with her, face hidden in her hands?" "I never looked that way," replied Donatello. "I was saying my own prayer. It was some penitent, perchance. May the Blessed Virgin be the more gracious to the poor soul, because she is a woman."
"The pictures fill me with emotion, but not such as you seem to experience," said Donatello. "I tremble at those awful saints; and, most of all, at the figure above them. He glows with Divine wrath!" "My dear friend," said Kenyon, "how strangely your eyes have transmuted the expression of the figure! It is divine love, not wrath!" "To my eyes," said Donatello stubbornly, "it is wrath, not love!
"Peace, peace, Donatello!" said Miriam soothingly, for this naturally gentle and sportive being seemed all aflame with animal rage. "Do him no mischief! He is mad; and we are as mad as he, if we suffer ourselves to be disquieted by his antics. Let us leave him to bathe his hands till the fountain run dry, if he find solace and pastime in it. What is it to you or me, Donatello? There, there!
One point which both Donatello's and Verrocchio's David emphasizes is the gulf that was fixed between the Biblical and religious conception of the youthful psalmist and that of these sculptors of the Renaissance. One can, indeed, never think of Donatello as a religious artist.
Nothing else made Kenyon so sensible of a change in Donatello, as his newly acquired power of dealing with his own emotions, and, after a struggle more or less fierce, thrusting them down into the prison cells where he usually kept them confined.
But the story of Judith did not come to be painted in Tuscan sanctuaries until Donatello of Florence had first cast her in bronze at the prayer of Cosimo pater patria. Her entry was dramatic enough at least: Dame Fortune may well have sniggered as she spun round the city on her ball.
Word Of The Day
Others Looking