Tuscan Sculpture of the Fifteenth Century / A Collection of Sixteen Pictures Reproducing Works by Donatello, the Della Robia, Mino da Fiesole, and Others, with Introduction

by Estelle M. Hurll

II. ON BOOKS OF REFERENCE.

There are but few works devoted exclusively to the subject of Italian Renaissance sculpture. For many years American students seeking information in this direction have relied chiefly upon the works of C. C. Perkins: "Tuscan Sculptors" (2 vols.), London, 1864; "Italian Sculptors" (in Northern, Southern and Eastern Italy), London, 1868; and finally the volume which unites and revises the material of both earlier works, "Historical Handbook of Italian Sculpture," New York, 1883.

The recent work of Marcel Reymond, "La Sculpture Florentine," Florence, 1898, has been heartily welcomed by students of all nationalities. It consists of four volumes, all well illustrated, devoted respectively to: (1) Les Prédécesseurs de l'Ecole Florentine et la Sculpture Florentine au XIVe siècle [The Precursors of the Florentine School and Florentine Sculpture of the 14th Century]. (2) Première moitié du XVe siècle [First half of the 15th century]. (3) Seconde moitié du XVe siècle [Second half of the 15th century]. (4) Le XVIe siècle et les Successeurs de l'Ecole Florentine [The 16th Century and the Successors of the Florentine School]. As it has not been translated into English this work is not so widely read by the general public as it should be, but it is probably to be found in most large libraries.

A newly published book, "Italian Sculpture of the Renaissance," by L. J. Freeman, M. A., appears just as this volume goes to press. It is a brief survey, critical and interpretative, of the principal works of the most prominent Florentine sculptors of the period, with some account of the characteristics of the early and later Renaissance work. Some forty fine illustrations elucidate the study.

Of the general works on the history of art from which material on our subject may be drawn, the most important is of course Vasari's "Lives." In the recently revised English version, edited by E. H. and E. W. Blashfield and A. A. Hopkins (New York, 1897), are some valuable footnotes summing up the characteristics of the individual sculptors.

Of inestimable value for purposes of serious study are the volumes by Eugène Müntz, "Histoire de l'Art pendant la Renaissance." The material bearing on the sculptors illustrated in this present collection is found in his volume devoted to "Les Primitifs" (Paris, 1889). Those to whom the French text presents no difficulty will derive much benefit from the study of this book, which may be consulted in the large public libraries.

A book available to all, and of a delightfully popular nature, is the volume on "The Fine Arts" in John Addington Symonds's series of The Renaissance in Italy. This writer had a remarkable gift for putting much suggestive comment into a compact and readable form.

General histories of sculpture allotting a proportionate space to the consideration of the Italian sculptors of the Renaissance are, by Lucy Baxter, "Sculpture, Renaissance and Modern" (New York, 1891); Lübke, "History of Sculpture," translated from the German by F. E. Bunnett (London, 1878); Allan Marquand and A. L. Frothingham, "Textbook of the History of Sculpture" (New York, 1896).

A special study of the work of Donatello is made by Hope Rea in a volume of the series of Handbooks of the Great Masters in Painting and Sculpture. A complete list of the sculptor's works is given. Luca della Robbia is the subject of two important French works: by Cavalucci and Molinier, "Les Della Robbia" (Paris, 1884); by Marcel Reymond, "Les Della Robbia" (Florence, 1897). There is a chapter on Luca della Robbia in Walter Pater's "Studies in the History of the Renaissance" (1890), and another in Mrs. Van Rensselaer's "Six Portraits" (Boston, 1889).

Mrs. Oliphant has written pleasantly both of Donatello and of Luca della Robbia in "The Makers of Florence."

III. HISTORICAL DIRECTORY OF THE WORKS IN
THIS COLLECTION.

Frontispiece. [Il Marzocco] (the heraldic lion of Florence). (Donatello.) Made of pietra serena and originally placed on the ringhiera of the Palazzo Vecchio, Florence. Now in the National Museum (Bargello) of that city, while a bronze copy occupies its place in front of the palace.

1. [Musical Angels.] (Donatello.) Bronze bas-reliefs from the high altar of S. Antonio, Padua. Ordered in 1448. Completed in 1450. Marcel Reymond holds that the execution of these reliefs was committed to assistants. In 1576 a new altar was ordered, and Donatello's bronzes were dispersed. In 1895 a reconstruction of Donatello's altar was made, setting the parts in place according to what is supposed to have been the original design.

2. [St. Philip.] (Nanni di Banco.) Marble statue in niche on outside of Or San Michele, Florence. The date is uncertain; Marcel Reymond considers it one of Nanni's oldest works, placing it before 1408.

3. [St. John the Baptist.] (Donatello.) Bas-relief in pietra serena in the National Museum (Bargello), Florence. No date is assigned.

4. [The Infant Jesus and St. John.] (Mino da Fiesole.) Detail of marble altarpiece in alto relievo in cathedral of Fiesole, being a part of the monument of Bishop Salutati. Ordered in 1462.

5. [Boys with Cymbals.] (Lucca della Robbia.) One of the marble bas-reliefs ornamenting the organ gallery for the Florence cathedral. Organ gallery begun in 1431, finished 1440. Removed from cathedral in 1688. Reliefs put in Uffizi Gallery 1882, and then in the Bargello. Thence taken to the museum of the Duomo, where they are now to be seen, set up in place on the reconstructed gallery.

6. [Tomb of Ilaria del Carretto (Detail).] (Jacopo della Quercia.) Marble tomb in the cathedral of Lucca. Milanese dates it 1413, but Ridolfi's description of the Lucca cathedral places Jacopo's work there in 1406 or 1407, and Müntz thinks this date conclusive.

7. [Madonna and Child (Detail).] (Luca della Robbia.) Glazed terra cotta lunette over the door of a building (now a shop) in the Via dell' Agnolo, Florence. Considered by Marcel Reymond the most difficult of Luca's work to date. According to Dr. Bode, executed before 1431; according to Allan Marquand, between 1430 and 1440; according to Marcel Reymond, towards 1450.

8. [Meeting of St. Francis and St. Dominick.] (Andrea della Robbia.) Glazed terra cotta lunette in the Loggia of San Paolo, Florence. Classified by Marcel Reymond under Andrea's third manner, because distinguished by perfect knowledge of artistic principles.

9. [St. George.] (Donatello.) Marble statue originally designed for a niche on the church of Or San Michele, Florence. Executed in 1416 at the order of the Guild of Armorers. In 1887 it was removed to the National Museum, Florence, to preserve it from injury by exposure to the weather. A bronze copy was substituted for it on the church.

10. [Bambino.] (Andrea della Robbia.) One of a series of glazed terra cotta medallions on the façade of the Foundling Hospital, Florence. Judged by its relation to the art of Luca della Robbia, this is among the early works of Andrea. From certain data in the history of the hospital, Cavalucci reckons that it was executed about the year 1463.

11. [The Annunciation.] (Andrea della Robbia.) Altarpiece at La Verna. Marcel Reymond says that from the beauty of style and the advanced knowledge of technique exhibited here, this work must belong to Andrea's maturity, that is, in the neighborhood of his fortieth year. It is classified by Reymond in Andrea's "first manner."

12. [The Ascension.] (Luca della Robbia.) Enamelled terra cotta lunette, decorating tympanum of door of sacristy in the cathedral at Florence. The first work in this material by Luca of which we have the date, 1446.

13. [Tomb of the Cardinal of Portugal (Detail).] (Antonio Rossellino.) Tomb in colored marble in the church of San Miniato, Florence. Ordered in 1461.

14. [Equestrian statue of Gattamelata.] (Donatello.) In the Piazza del Santo, Padua. Commission given 1444. Work begun 1446. Statue set up, 1453. Erected at the expense of Gattamelata's son, Gio. Antonio.

15. [Shrine.] (Mino da Fiesole.) A marble tabernacle, decorated in mezzo-relievo and originally made for the nuns of the convent of the Murate. Removed in 1815 to S. Croce, Florence. No date is assigned to it.