It is clear that our artist found the models for his figures in the streets of Florence. These round-faced children with their large mouths are not pretty enough for imaginary types. They are perfectly natural, and that is why we like them.
The grouping is skilfully planned to give unity to the composition without any stiffness. There are no awkward gaps between the figures, but the lines flow from one to another, binding them together. The half kneeling posture of the child in the middle makes diagonal lines to unite the leader with the boy in the rear. We notice in the drawing the same sweep of line which we have admired in Donatello's bronze reliefs of angels. The three figures in front are modelled in high relief, and in beautiful curves; the children in the rear are in low relief.
The work of Luca della Robbia was not confined to marble. Soon after completing the organ gallery he made a bronze door for the interior of the cathedral. He is best known for his work in enamelled terra-cotta, of which we shall hear more in later chapters.
[19] See Chapter III. in the volume on Greek Sculpture in the Riverside Art Series.
[20] Psalm lxviii., verse 25, and 1 Chronicles, chapter xiii., verse 8.
[21] St. Matthew, chapter xxvi., verse 30.
[22] The pontificate of Gregory I. was from 590 to 604.