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Updated: June 15, 2025
The commission was then given to Michelozzo, Donatello's partner, and to Luca della Robbia, but it seems likely that Luca did nearly all. The doors are in very high relief, thus differing absolutely from Donatello's at S. Lorenzo, which are in very low.
An historic piazza Marble façades Florence's Westminster Abbey Galileo's ancestor and Ruskin Benedetto's pulpit Michelangelo's tomb A fond lady Donatello's Annunciation Giotto's frescoes S. Francis Donatello magnanimous The gifted Alberti Desiderio's great tomb The sacristy The Medici chapel The Pazzi chapel Old Jacopo desecrated A Restoration. The piazza S. Croce now belongs to children.
She carried away but a confused phantasmagoria, it is true, of the soaring tower of the Palazzo Vecchio, pointing straight with its slender shaft to heaven; of the swelling dome and huge ribs of the cathedral, seen vast from the terrace in front of San Miniato; of the endless Madonnas and the deathless saints niched in golden tabernacles at the Uffizi and the Pitti; of the tender grace of Fra Angelico at San Marco; of the infinite wealth and astounding variety of Donatello's marble in the spacious courts of the cool Bargello.
In a case like this, it is doubtful whether Kenyon could have done a much better thing than he actually did, by going to dine at the Cafe Nuovo, and drinking a flask of Montefiascone; longing, the while, for a beaker or two of Donatello's Sunshine.
Long ago I expressed my conviction that the "Sherman Monument" is third in rank of the great equestrian statues of the world. To-day I am not sure that that conviction remains unaltered. Donatello's "Gattamelata" is unapproached and unapproachable in its quiet dignity; Verrocchio's "Colleone" is unsurpassed in picturesque attractiveness. Both are consecrated by the admiration of centuries.
In "The Marble Faun," Hawthorne is undoubtedly right in never revealing the shape of Donatello's ears, even though the reader continually expects the revelation; but, in the same novel, it is difficult to see what, if anything, is gained by making the reader wait in vain for the truth about the shadowy past of Miriam.
Depart, then; and make the sign of the cross, as your faith bids you, when an evil spirit is nigh. Cast me off, or you are lost forever." A higher sentiment brightened upon Donatello's face than had hitherto seemed to belong to its simple expression and sensuous beauty. "I will never quit you," he said; "you cannot drive me from you."
Miriam, however, was not of the feeble nature which takes advantage of that obvious and poor resource in earthly difficulties. She flung herself upon the world, and speedily created a new sphere, in which Hilda's gentle purity, the sculptor's sensibility, clear thought, and genius, and Donatello's genial simplicity had given her almost her first experience of happiness.
"What do you take it to be?" asked the sculptor. "I hardly know how to define it," she answered. "But it has an effect as if I could see this countenance gradually brightening while I look at it. It gives the impression of a growing intellectual power and moral sense. Donatello's face used to evince little more than a genial, pleasurable sort of vivacity, and capability of enjoyment.
This entirely falsifies the sculptor's motive, misses the meaning of the sling, renders the broad strap behind the back superfluous, and changes into mere plastic symbolism what Michelangelo intended to be a moment caught from palpitating life. It has often been remarked that David's head is modelled upon the type of Donatello's S. George at Orsanmichele.
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