They are genuine musicians, not children playing with the pipes as with toys. They move to the rhythm of their piping, their lifted faces expressing their delight. Their thin garments cling to their figures, and the loose ends flutter about them.
Every line of the modelling is beautiful, the poise of the figures full of rhythmic grace. The angel at the left stands in profile, with face slightly turned away from the spectator. The right hand figure skips directly out of his panel, swinging lithely about towards the left, as he moves. The outlines of both figures describe long fine curves, with which the edges of the drapery run parallel. In the drawing of the right hand angel we may trace delicate patterns of interlacing ovals.
Some portions of the work seem to be modelled in very high relief. The limbs, we are told, are in low relief, supported on a metal back, an inch or so thick, by which they are thrown out to a proper distance from the background.
The altar to which our panels belong is in the church of S. Antonio, Padua, and was executed by the Florentine sculptor, Donatello, in 1450. The entire scheme of decoration is very elaborate. On the front is a row of musical angels, in which the panels here reproduced occupy opposite ends. Above these are five reliefs of larger size; and still higher are seven life-size statues of saints. The whole is surmounted by a crucifix. Even the back of the altar is ornamented with reliefs, and the work is an example of the spirit of the age, which thought nothing too rich or beautiful for the purposes of worship.
[3] See Raphael, Michelangelo, Titian, and Correggio.
II
ST. PHILIP
BY NANNI DI BANCO
St. Philip was one of the first group of disciples whom Jesus called to his service. He was a native of Bethsaida in Galilee, but we do not know what occupation he pursued there. There is a tradition that he was a chariot driver, and in any case he was certainly a laboring man like all of the twelve. Having attached himself to Jesus he began at once to work in his cause. He persuaded Nathanael to come and see the Master, and thereby won a new adherent.[4]
Philip was not spiritually minded, like John, nor impetuous, like Peter, but in his own way he wanted to know the truth. Perhaps he was a little slower than others to grasp religious teaching. It may be that he was franker than many in confessing that he did not understand.