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Updated: May 22, 2025
It is a scene from the domestic life of the dead man, duly subordinated to the recumbent figure, which, when the monument was perfect, would have dominated the whole composition. Nothing in the range of Donatello's work surpasses these two bas-reliefs for harmonies of line and grouping, for choice of form, for beauty of expression, and for smoothness of surface-working.
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