Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 10, 2025
This power of telling a story plainly, but without dramatic vehemence; of eliminating the painful details of the subject, and combining its chief motives into one agreeable whole, gave peculiar charm to Ghiberti's manner. It marked him as an artist distinguished by good taste. How Delia Quercia treated the "Sacrifice of Isaac" we do not know.
In that of Jacopo della Quercia the figures were good, but they had no delicacy, although they were made with design and diligence. The work of Francesco di Valdambrina had good heads and was well finished, but was confused in the composition. That of Simone da Colle was a beautiful casting, because the doing of this was his art, but it had not much design.
For the Signoria of Siena, having resolved to make a very rich adornment in marble for the waters that Agostino and Agnolo of Siena had brought into the square in the year 1343, allotted that work to Jacopo, at the price of 2,200 crowns of gold; wherefore he, having made the model and collected the marbles, put his hand to the work and finally completed it so greatly to the satisfaction of his fellow-citizens, that he was ever afterwards called, not Jacopo della Quercia, but Jacopo della Fonte.
In like manner, the Stanze and Loggie of the Vatican were the final outcome of the same process upon another line, suggested by Perugino and Fra Bartolommeo. Michelangelo adapted to his own uses and bent to his own genius motives originated by the Pisani, Giotto, Giacopo della Quercia, Donatello, Masaccio, while working in the spirit of Signorelli.
It is extremely difficult to determine in what degree the feelings or intelligence of this class influenced the architectural design of the thirteenth century; how far afield the cathedral tower was intended to give delight, and to what simplicity of rustic conception Quercia or Ghiberti appealed by the fascination of their Scripture history.
It is the almost architectural distribution of space and light, the treatment of masses, which makes the immeasurable greatness of Donatello, and gives dignity to his greatest contemporary, Jacopo della Quercia.
Their call was answered by Giacomo della Quercia of Siena, by Filippo Brunelleschi and Lorenzo di Cino Ghiberti of Florence, and by two other Tuscan artists of less note. The young Donatello, aged sixteen, is said to have been consulted as to the rival merits of the proofs submitted to the judges. Thus the four great masters of Tuscan art in its prime met before the Florentine Baptistery.
Of the workmanship little need be said, except that it is wholly Lombard, distinguished from the similar work of Della Quercia at Bologna and Siena by a more imperfect feeling for composition, and a lack of monumental gravity, yet graceful, rich in motives, and instinct with a certain wayward improvvisatore charm.
He finished this work in the year 1460, and afterwards, for the façade of the palace where the Legate of Bologna now lives, he made a Madonna in bronze, four braccia high, and placed it in position in the year 1478. In a word, he was an able master and a worthy disciple of Jacopo della Quercia of Siena.
A MS. of the Abbate Galgano Bicchi, which gives the date, speaks of it as an Ancona, the centre of which was a statue of S. Christopher by Jacopo della Quercia, and with a predella, which the Abbate minutely describes.
Word Of The Day
Others Looking