■3 ■ ■ ■ "I ■ ,,:,■: ■:s*k ■ I ITALIAN SCULPTURE OF THE MIDDLE AGES AND PERIOD OF THE REVIVAL OF ART. ifli 5 8co. Nicola or Giovanni Pieano (afcribed to). Marble Statue of an Archangel. SOUTH KENSINGTON MUSEUM. Italian Sculpture of the Middle Ages and Period of the Revival of Art. A Descriptive Catalogue of the Works fanning the above SeSlion of the Mitfeum, with additional Illufrative Notices. BY J. C. ROBINSON, F. S. A. MEMBER OF THE ACADEMY OF FINE ARTS Or FLORENCE, AND OF ST. LUKE AT ROxME, ETC. ; SUPERINTENDENT OF THE ART COLLECTIONS OF THE SOUTH KENSINGTON MUSEUM. Publijhed for the Science and Art Department of the Committee of Council on Education. LONDON: CHAPMAN and HALL, 193, PICCADILLY. 1862. CSTTV fFNTn? M£EM>DV INTRODUCTION. CULPTURE, fince the beginning of the 16th century, when mufeums and galleries firft be- gan to be inftituted on the modern fyftem, has been always regarded as fpecially proper to be reprefented therein ; and in nearly every mu- feum of early foundation monuments in marble and bronze form confpicuous features. Thefe fculpture collections, however, are almoft entirely confined to ancient art. The efpecial reverence for claflical antiquity, which in former times fo exclufively pre- vailed, inverted, indeed, every fragment of ancient fculpture, even the moft trivial, with a fentimental importance, and thus an overftrained and unreafoning reverence for the antique, as the only fculpture worthy of ferious consideration, grew up, and has maintained its ground, to a great extent, even to our own day. But a change of feeling, in many refpects doubtlefs to be deplored, has of late years fhown itfelf, efpecially in this country, in refpect to antique art. Fortunately, one of its refults is the attention which is now being directed to mediaeval fculp- ture, more efpecially to the works of the great Italian artifts of the Revival. Unqueftionably the exquifite art of antiquity is worthy of the higher! admiration, and mould always form a prominent category in public mufeums ; but, at the fame time, there is vi IntroduElion. furely no reafon why it fhould be allowed to caft a fhadow over all later productions, as, in the cafe of fculpture, it appears to have done. Didactic writers on art have laid down as an eftablifhed axiom, that the antique, being perfect, muft ever remain the bafis and only true fchool of fculpture. That it has not, however, always been fo, in this reftricted fenfe, is certain, and that it is by no means to the advantage of modern fculpture, that it mould continue to occupy fo exclufively dominant a pofition, will probably foon be more generally admitted. What is it, indeed, which fo frequently renders the highly-elaborated works of modern fculptors fo little attractive, but that ideal of dead clafticality, which fo many men of true genius ftill cling to as if it were efTential to their art, and which, it may not be out of place to remark, died out in modern painting with the laft followers of Benjamin Weft and David. The antique, for inftance, had comparatively little to do with the truly great Italian fchool of fculpture of the fifteenth century ; at all events, its influence then was a reafonable and genuine one. Ghiberti, Iacopo della Quercia, Donatello, Luca della Robbia, and a long feries of fplendid names, may be cited in proof of this afTertion. External nature, religious feeling, human character and expreffion, thefe were alike the fchool, and, in far greater meafure than the antique, the infpiring motives, of the fculptors of the Revival. During the middle ages all the weftern countries of Europe produced remarkable works of fculpture, but it was in Italy alone that the art attained to a perfection worthy of comparifon with the antique, and in Italy alone can its monuments be thoroughly ftudied. In their nature, works of fculpture ufually partake, more or lefs, of an architectural or monumental character, and, happily, a large proportion of the mafterpieces of the great Italian fculp- tors ftill remain in the churches and public edifices for which Introduction, vii they were executed. In recent times the exclufive predilection which has been alluded to, left the fculpture of the Revival but little intereft in the eyes of connoiffeurs, and whilft Italian pic- tures were eagerly collected and enfhrined as the choiceft trea- fures of almoft every gallery, fcarcely a thought was beftowed on the equally admirable contemporaneous productions of the fitter art. To this day, none of the great continental mufeums have any fyftematic collections of renaiftance fculpture ; even in Florence, the Athens of the revival, only a few marbles, of great value and importance it is true, and a more numerous, but ftill inadequate, collection of bronzes, are to be found difperfed amidft the vaft galleries of the Uttizj ; whiltt in our own country, till very recently, the art-ttudent might have fought in vain for any examples of Italian fculpture. The acquitttion of fpecimens, indeed, is a work of difficulty; unlike moft other works of art, for obvious reafons, they do not often fall into the hands of dealers. They mutt be diligently fought for in the land of their production, and it is only when ancient buildings are altered or dettroyed, that works of monu- mental fculpture can be obtained from their original localities ; thefe occafions, generally in themfelves to be deplored, are now becoming, happily, every day more rare. Marble-mafons' fhops, gardens, the courtyards and porticos of palaces and villas, may ftill yield interefting fragments or minor works of a moveable nature, but the formation of any fyftematic collection, worthy of a National Mufeum, will henceforth be very difficult. For thefe reafons, during the laft few years, every effort has been made to fecure for this Mufeum fuch works of mediaeval fculpture as were to be obtained, efpecially in Italy ; and it is not too much to fay, that a very confiderable proportion of the fpecimens, which had been accumulating in the hands of dealers and private porTeftbrs for a long time previoufly, has now patted into this Collection. viii Introdu&ion. Sculpture, from its very nature, has always been more intimately allied to architecture than has the fitter art of painting ; it is, fo to fpeak, lefs rigidly a fine art, and it has been more generally applied to the embellifhment of objects of ufe or mere decoration ; confequently, it is by no means eafy to define the limits which a collection intended to illus- trate the art in the abftract mould occupy. Articles of furni- ture, for inftance, are often decorated with admirable fculptures in wood, and are as truly works of fine art as ftatues ; whilft in metal-work the goldfmith has often produced decorated utenfils as truly fculpturefque as the grander!: works in monu- mental bronze. Without fome methodic, but necefTarily more or lefs arbi- trary limitations, therefore, it would be impoffible to prevent fuch an expanfive clafs of objects from outgrowing all bounds. In deciding on the conventional limits of the prefent fculpture collection, practical convenience has, to fome extent, been con- futed ; generally fpeaking, it includes works in marble, ftone, terra-cotta, &c, and certain examples of carving in wood and ivory, whilft art bronzes and portrait medallions alfo claim a place.* It will here not be irrelevant to take fome further notice of the two-fold afpect under which fculpture is reprefented in this Mufeum, viz. as a cc fine art," and alfo, if we may fo phrafe it, as a decorative art or industry, in other words, of fculpture and ornamental carving. It is not more certain than unfortunate, that in our times an imaginary, but practically very decided, line of distinction has been drawn betwixt thefe two afpects. The idea has gradually grown up, efpecially in this country, that it is fcarcely the bufinefs of an artift-fculptor to concern himfelf * Thefe minor claries of fculpture will afford matter for a diftinct notice or feclion of the general defcriptive Catalogue of the Mufeum Collections, of which the prefent part may be confidered as an inftalment. Introduction. ix with anything but the human figure, and as one refult of this fhort-fighted view, when any architectural or ornamental accef- fories are required, an unfortunate want of power is too often manifefted; whilft, on the other hand, no ornamentift fculp- tors, worthy of the name, are likely to arife from amongft the modellers for plafterers, the wood and ftone carvers, and other fkilled artizans, to whom ornamental fculpture has been virtually abandoned. Beginning as mere workmen, and accuf- tomed from the firft to underrate their occupations, it is almoft impoffible for fuch perfons to raife themfelves to the level of artifts. In former times, on the contrary, the fculptor nearly always was more or lefs a practical artizan and an architect ; whilfl architects, by fpecial profeffion, were as ufually fkilled in the art of fculpture. Habitually accuftomed to defign and fuperintend the erection of edifices, they often executed the decorative details with their own hands, or modelled them in clay or ftucco, to be worked out by their pupils and affirmants. Nor was this all ; it was no uncommon thing for the very furniture even, the chairs, cajfoni, beds, &c. of an Italian palace to be defigned by the fculptor-architect or cc prototnaftro" who alfo may have carved the burt of the matter of the houfe, the bas-relief picture for his private devotions, and, finally, his tomb in the family chapel, gorgeous with the richefl arabefques, allegorical figures, armorial devices, &c. and the folemn effigy of the defunct ; all of which various works were carried out with equal carefulnefs and love. It never occurred to the artift of the revival to think architectural ornamentation be- neath his dignity ; on the contrary, the greater!: fculptors have left us fpecimens of their genius in this branch, — Defiderio, Roflellino, Benedetto da Rovezzano, Cellini ; furely where thefe great artifts have fo gladly trod no modern craftf- man need difdain to follow. The prefent Collection, therefore, will comprife all fuch works as a mediaeval fculptor may have b IntroduSiion, been called upon to execute; and one good refult, which it is hoped will enfue from it, will be an elevation of the flatus of ornamental fculpture in general. To illuftrate the art in the wideft and moft comprehenfive manner, is then the ultimate aim. It is obvious that antique fculpture, the monuments of which can fcarcely be faid now to exift anywhere infitu, lends itfelf naturally to a limited and well- defined mode of illustration ; and indeed, ftatues, bufts, bas-re- liefs, &c. were much more commonly executed as independent works of art than has been the cafe in after-times. A larger proportion, perhaps, of the monuments of antique art were of a fecular or domeftic nature than thofe of the middle ages, during which the moft conftant and powerful protector of art was the Church. Works of art of the former claffes are moreover ufually of manageable fize, and complete in themfelves ; whereas mediaeval ecclefiaftical fculptures are nearly always of a fixed Structural cha- racter, generally forming component parts of buildings or large monuments, fuch as tombs, altars, pulpits, doorways, &c. and it is efTential to the complete understanding of fuch portions of monu- ments of the like nature, as have found their way into collec- tions, that their relative places in the general defign mould be mown by drawings, photographs, engravings, cafts, &c. of the complete works, or at leaft of fimilar ones, ftill in their original fituations. A fyftematic collection of mediaeval and renaifTance fculpture, therefore, mould comprife more than the actual marbles and terra-cottas ; befides the original fpecimens, it mould embrace a well-ordered feries of auxiliary illuftrations, efpecially of plafter cafts. The mention of plafter cafts, however, fuggefts feveral reflections : their multiplication is, comparatively, fo eafy a matter, that any collection of original fpecimens would fpeedily be overwhelmed with the mafs of reproductions placed in juxta- position with them, unlefs fome very pofitive rules were laid down at the commencement. Introduction. xi It may here be afked, why cafts might not ferve inftead of the original fpecimens, only to be obtained with fuch difficulty and coft ? The anfwer is, that, apart from that natural feeling of the human mind, which attaches the higher!: value only to original works, plafter cafts are by no means fuch exact repro- ductions as is generally fuppofed ; the difficulties of the actual procefTes of moulding, in many cafes, are fuch as to afford at beft but very imperfect and inadequate reproductions of fine works of art. Plafter cafts are, in reality, only a degree better, in their way, than would be careful copies inftead of original pictures. Still, they have obvious and manifold ufes, which it is needlefs to infift on in detail. In fupplementing the prefent fculpture collection with them, care will be taken to admit only fuch cafts as may fupply miffing links in the feries, or fuch as are reproductions of typical or reprefentative works, which in their nature can only be illuftrated in this country by that means ; reftricting them to as few fpecimens as poffible, confident with a due regard to their auxiliary utility. Finally, it may be obferved that it is the intimate connection of mediaeval and renaiffance fculpture with the decorative arts in general, which clearly indicates this Mufeum as the proper repofitory for this clafs of the National acquisitions ; confe- quently the prefent Collection fhould be regarded as part of a methodic feries, following the antique fculptures of the Britifh Mufeum, to be eventually continued down to our own time, fo as to form a complete collection of what, in contradiftinction to the fimilarly general term antique, may be fitly defignated mo- dern fculpture. The purchafe, in 1854, of the cc Gherardini Collection " of original models by great Italian artifts, may be confidered as the foundation of the fculpture feries hereafter defcribed. This collection, confifting of thirty fpecimens, was the property of a member of the Gherardini family of Florence, who had recently inherited it together with a collection of ancient drawings, from an xii Introduction , aged prieft, in whofe poffeffion both models and drawings had long remained entirely unknown. The difcovery of them, for fuch it may be termed, excited great interefl: in Florence ; and the owner having been furnifhed with documents from the leading artifis of the Academy of that city, attefting the merit and authenticity of the objects, at once endeavoured to difpofe of both collections, offering them, in the firft inftance, to the Auftrian and French governments. The former purchafed the drawings, but the acquifition of the models was declined by both countries ; and after much intereft had been excited in artiftic circles in Paris, to which city the objects themfelves had been taken, they were finally offered to her Majefty's government for the fum of 3,000/. Mr. Dyce, R. A., and Mr. Herbert, R. A., were there- upon commiffioned to vifit and report on the collection ; which they did in very favourable terms : ftating, however, that out of the thirty objects not more than ten or twelve were really defin- able. The owner, Madame Gherardini, was therefore invited to bring the collection to this country ; and an agreement was made to the effect that if, after public exhibition in London for the fpace of one month, the public verdict were favourable to their being purchafed, an offer mould be made. They were accordingly, on the authority of the then Chancellor of the Ex- chequer (Mr. Gladftone) depofited on view in the Art Mufeum, at that time at Marlborough Houfe ; and at the expiration of the ftipulated period, the favourable opinion of many competent authorities having been expreffed, the reduced fum of 2,1 10/. was paid for the collection by a parliamentary grant. Thefe models were allowed to remain at Marlborough Houfe, rather perhaps from their not being deemed appropriate additions to any other national collection, than with any definite intention of their being made the nucleus of a collection of modern fculpture. On the fubfequent rapid development of the Art Mufeum, after its removal to South Kenfington, however, it was fpeedily feen that works of the clafs in queftion (from fufficiently obvious IntroduElion. xiii analogy) were directly relative to the varied gatherings of Italian art, the Majolica wares, decorative bronzes, carved furniture, mofaics, enamels, &c. of the fame period, of which fo large a collection had been accumulated. During the fucceeding years, therefore, additional fpecimens of fculpture were gradually ob- tained and grouped around this original nucleus. In 1859-60, many acquifitions were made in Italy ; and, finally, the purchafe of the Gigli-Campana Collection brought the feries to its prefent ftate. An account of the acquifition of the laft-named collection may be thought defirable. The Marchefe Campana, director of the Monte di Pieta, or national pawnbroking eftablifhment of the papal govern- ment, was a paffionate amateur and collector of every clafs of works of art, but more particularly of objects of claffical antiquity. During a feries of years he accumulated an enormous number of fpecimens, for which, with an enthu- fiafm which frequently outran his judgment, he often paid extravagant prices. He alfo difburfed large fums of money in conducting excavations for the difcovery of antique remains. The outlay thus incurred led him to make ufe of the official funds of the eftablifhment under his charge ; it is ftated, by Signor Campana's partizans, that this took place all along with the cognizance and fanction of the Papal government, which allowed hirnto make advances to himfelf on the fecurity of his collections. However this may have been, he was at laft fuddenly arretted, deprived of his office, and thrown into prifon. His collections were fequeftrated and handed over to the keeping of perfons appointed by the government, who were ordered to make a catalogue of the entire gatherings forthwith, with a view to the whole being fold to make good the alleged defalcations. The fum ftated to be due was upwards of 200,000/. ; Campana and his friends averting that the Collection was of much greater value. He remained in prifon upwards of three years ; finally, however, he was releafed; fome pecuniary provifion was made xiv IntroduEiion. for him ; and the Collection was virtually taken by the State in fatisfaction of its claim. During Campana's imprifonment, the mofl exaggerated ideas prevailed throughout Europe as to the wonderful riches of the Collection, and were feduloufly propagated by his numerous friends and agents. Applications were made to the leading European governments to purchafe the Collection, and attempts were made, both in England and France, to form private com- panies, with the view of purchafing it, cc en bloc," as a fpeculation. A catalogue was ifTued, divided into twelve feries, which were feparately estimated at prices entirely beyond all reafonable limits. In the year 1856 the truftees of the Britilri Mufeum difpatched Meflrs. Newton and Birch to Rome to report on the Collection ; thefe gentlemen made a minute and laborious analyrls of it, and recommended the purchafe of nine of the fections complete, comprising all the works of antique art, except the fculptures in marble, as the only likely means of ob- taining the proportion of fpecimens really coveted. Thefe collections they valued, as they ftate, on a fcale of prices cc ac- cording to the general ftandard of the market of Europe, as recorded in the catalogues of public fales during a feries of years in England and on the continent/' at 34,246/. The Roman authorities, however, peremptorily declined to entertain any offers on this bafis. As an idea prevails that this amount was an entirely inadequate one, the writer would here record his opinion, founded on repeated examinations of the entire Col- lection, that it was, at all events, a fair, and even favourable valuation on the ftandard adopted. MefTrs. Newton and Birch concerned themfelves only with the antique fections of the Col- lection, as being alone within their province. Attempts were afterwards made, on the part of the authorities of the National Gallery, to extract from the vaft mafs of (generally fpeaking) worthlefs pictures, forming one of the fections, the few fpeci- mens of real importance which were deemed deferable, but with Introdu&ion. xv fimilar want of fuccefs. In fad, although the Campana Collection undoubtedly did contain a confiderable number of works of the very higheft value and importance, fuch was the mediocrity of the great mafs of the objects in many fections, that, unlefs the entire Collection could have been bought on the bafis laid down by Merits. Newton and Birch, the principle of felection was the only found and feafible one that could properly have been adopted. The two fections of the Campana Collection, which alone concerned the South Kenfington Mufeum, were thofe of re- naifTance fculpture and Majolica wares, and of thefe but a very few important fpecimens were defired. Thefe collec- tions, together with the pictures, were the moft recent of Cam- pana's acquisitions, having been mainly got together but a fhort time before his imprifonment, in a hurried manner, at a great outlay, during the height of the fudden mania for works of mediaeval art which had then fet in. One of the numerous agents whom Campana at that time had engaged to fcour the Italian peninfula was Signor Ottavio Gigli, a Roman literary man, for fome years previoufly fettled in Florence, and through this gentleman's agency moft of the more important fpecimens in thefe latter fections were procured. But Signor Gigli had for fome time previoufly occupied himfelf in the formation of a Col- lection of Italian fculpture on his own account ; and having fuc- ceeded in getting together a collection of much greater impor- tance than Campana's gatherings in the fame clafs, he finally entered into negotiations for the ceflion of his collection to the latter in its entirety. But this purchafe, in all probability, required a larger fum than the Marchefe Campana was prepared to pay ; as a preliminary flage, therefore, the Collection, con- fifting of 124 fpecimens, was, through his means, pledged to the Monte di Pieta for a fum which, including accumulations of intereft, ultimately amounted to 3$,S$o fcudi Romania or about 7,150/., a valuation to nearly double that amount (70,000 xvi IntroduEiion, Jcudi) having previoufly been made by a commiflion of mem- bers of the Academy of St. Luke ; this collection, therefore, virtually, if not actually, may be faid to have patted into Cam- pana's pofTefTion. When his imprifonment took place, the objects compofing it were mingled with his own fimilar fpeci- mens, and were fo retained and exhibited to the public, with the mafs of the Campana Collection, in Rome. Signor Gigli was required to pay the intereft which had accrued, and to redeem his collection by reimburfing, at the earlieft moment, the principal advanced. Shortly after this period, (1859,*) tne writer was directed by the Lords of the Committee of Council on Education to vifit the Campana Mufeum, and to report on fuch portions of it as might be within the fcope of the collec- tions at South Kenfington. The refult of his infpection was, that, of the 1 24 fpecimens comprifing the Gigli Collection, only 69 pieces were, in his opinion, to be defired; whilft of the analogous Campana fections of renaifTance fculpture and Ma- jolica ware, a felection of 15 highly -important fpecimens were greatly to be coveted. The remainder of the Gigli Collection was abfolutely worthlefs to the Art Mufeum, and of little or no intrinfic value ; whilft, with the exception of the fifteen pieces alluded to, the fpecimens in the two Campana feries were fcarcely of greater value. It was then underftood that the Gigli Collec- tion might be purchafed from its oftenfible owner (Signor Gigli), who, though unable to pay either the principal or intereft due to the Monte di Pieta, yet, having the ftrict letter of the law on his fide, had power to prevent the Monte difpofing of the collection without his confent. He, however, demanded a fum which rendered all negotiation impoflible ; whilft, in refpect to the fpecimens felected from the Campana feries, there feemed to be * The Collection had, in the preceding winter, been vifited and examined by Henry Cole, Efq., C.B., Secretary of the Science and Art Department, whilft refiding in Rome for the benefit of his health. IntroduSlion. xvii not the flighted profpect of inducing the Papal government to cede them feparately. Nothing therefore was done at that time ; but Signor Gigli fhortly afterwards vifited England, bringing with him a photographic album of the collection : this he afterwards took to Paris and St. Petersburg, where he offered his collection to the French and Ruffian governments without fuccefs. In the autumn of i860, the writer, being again in Italy, turned his attention once more to the Gigli-Campana Col- lections ; and the political occurrences of that period feeming to offer a chance for fuccefsful negotiation, which had never before prefented itfelf, he loft no time in requefting authority to offer a certain fum for all fuch portions of the two Collections as were defired. This authority was communicated to him ; and after a lengthy negotiation, finally, towards the end of December, i860, the entire number of fpecimens originally felected, in all 84, from both the Gigli and Campana Collections, were purchafed for the net fum of 5,836/., being 1,314/. lefs than the amount owing to the Monte di Pieta for the Gigli Collection alone. At the fame time, in compliance with a ftipulation infifted on from the outfet, the Roman government remitted the ufual duty of 20 per cent, levied on the export of all ancient works of art from the city. As the ultimate fate of the Campana Collection ftill excites fome intereft, the further proceedings in refpect to it may be briefly ftated. The principle of allowing felections to be made having been eftablifhed by the fubtraction of the objects ac- quired for this Mufeum, the Papal authorities fhortly afterwards acceded to an offer of the Ruffian government for a felection from the antique Jettions ; and an agent of that government, in the month of March, 1861, fucceeded in negotiating the purchafe of 767 objects, chiefly Greek-painted vafes, bronzes, and antique marbles, for the fum of 650,000 francs, or 26,000/. This felection, undoubtedly, comprifed a great proportion of the moft precious works in the claffes from which the choice was xviii Introduction. made. Finally, intelligence of thefe fucceffive tranfactions having been communicated to the French government, two commif- fioners were difpatched with full powers to purchafe the refidue of the collection : this they effected in the month of June, 1861, for the fum of 4,360,440 francs, or 174,417/. The entire number of objects thus acquired was 11,835 » but m tms number only two of the more important of the twelve feries into which the collection was divided, viz. thofe of antique jewellery and ancient terra-cottas were obtained by them intact. It remains only to allude, in a few words, to the fources and authorities on which the opinions, in refpect to the fculptures hereafter defcribed, have been bafed. There is a remarkable fcarcity of literary works on this branch of art. No very profound or ufeful modern illuflrated works have been hitherto produced. The Italian biographical writers, local chroniclers, and guides, headed by the excellent and inimitable Giorgio Vafari, furnifh us, it is true, with a mafs of valuable matter ; whilfl the art of photography will foon render us more familiar with the principal monuments in fitu ; and, what is ftill better, virtually enable us in this manner to bring them fide by fide for comparifon. But a methodic and long-continued ftudy of the monuments of Italian fculpture in the country itfelf, aided by fearch for documentary evidence in local archives, will be the only means by which works adequate to the requirements of contemporary art-know- ledge, and criticifm, can be produced. The writer has, to a certain extent, occupied himfelf in this field in Italy ; and his obfervations have, at all events, ftrongly impreffed him with the richnefs and extent of this branch of the hiftory of art, and with the meagrenefs of our prefent flock of knowledge refpecting it. In affigning the works hereafter defcribed to their refpective authors, he has, in many inftances, adopted the reputed defig- nations which attached to them when acquired. The knowledge IntroduElion. xix of the original locality or "provenance" of a work, again, has in fome cafes furniihed a reliable clue, whilft other fpecimens have been identified by defcriptions in the works of writers on art. The Gigli Collection was accompanied by a photographic album, with letter-prefs defcriptions by the Cavaliere Migliarini, Keeper of the Florence Gallery. The illuftrations of this gentleman, however, were moftly explanatory of the fubjecfts and in praife of the feveral fpecimens as works of art, rather than of a nature to throw light on their origin and hiftory ; but wherever any information of the latter kind was given, it has been duly acknowledged in this Catalogue. Finally, the writer cannot but add that he is fully confcious of the ihort- comings of this work, and anxioufly hopeful of amending it hereafter. March, 1862. CONTENTS. Note. — The numbers of the feveral fpecimens are thofe attached to them in the general Regifter of the Mufeum ; for this and other reafons they are neceflarily not confecutive. Italian Sculpture, l^th and \\th Centuries. The Pifani. 5797 to 5800 inclufive. WO ftatues of Archangels, a group of three Saints, and a group of an Angel with the fymbols of the Evan- gelifts. Afcribed to Nicola or Giovanni Pifano 7563. Alto-relievo, in marble ; the Salutation of the Virgin. Florentine fculpture ; circa 1 300-20 (?) 7451. Alto-relievo, in marble ; Santa Barbara; afcribed to Andrea or Nino Pifano; circa 1340 7566,7567. School of the Pifani. Circa 1340 (r). Two draped Angels ; ftatuettes in marble ....... 7600. Virgin and Child ; group or ftatuette in marble, afcribed to Nino Pifano ........... Notice of the Pifani, and lift of their Principal Works now extant 7564. Alto-relievo, in marble; the Virgin and Child with two Angels; Tufcan fculpture ; circa 1400 ....... Italian Sculpture. i$tb Century. 7571. Iacopo della Quercia. (1 374-1438.) Alto-relievo, in terra- cotta, a " tabernacle " or mural fhrine ..... 7573. Iacopo della Quercia. Group, in terra-cotta, of the Virgin and Child feated 7574. Iacopo della Quercia. Similar group of the Virgin and Child, in terra-cotta .......... 7613. Iacopo della Quercia. Front of a cheft or cajjbne, inlaid with relievos of fcriptural fubjecls ; in glazed terra-cotta Notice of Iacopo della Quercia, and lift of his Principal Works now extant ......... 5786. Lorenzo Ghiberti, (afcribed to.) (1 381-1455.) The Crucifixion ; relievo, in terra-cotta ........ Page xxii Contents. Pa s e 7593. Lorenzo Ghiberti, (afcribed to.) The Birth of St. John the Baptill ; alto-relievo, in terra-cotta ...... 9 Notice of Lorenzo Ghiberti . . . . . . .10 Lift of Lorenzo Ghiberti's Principal Works in Florence . . 11 7594. Alto-relievo, in terra-cotta. The Virgin and Child, furrounded by a choir of Angels. Florentine fculpture ; circa 1400-30 (?) . . 12 7366. Alto-relievo, in ftucco. Virgin and Child, furrounded by Angels. Florentine fculpture ; circa 1400-30. . . . . . 12 5892. Statue, in wood. The Virgin and Child. Florentine fculpture; circa 1 400-40 . . . . . . . . 13 7719. Statue, in wood, of the announcing Angel. Pifan fculpture of the 15th century . . . . . . . . . .13 7565. Marble relievo. The Virgin and an Angel, with two kneeling maidens. Tufcan fculpture ; circa 1440 . . . . .14 5801. Virgin and Child. Relievo, in marble. Tufcan fculpture; dated H4I H JS77- Donatello. (1383-1466.) BafTo-relievo, in marble. Chrift in the fepulchre, fupported by Angels . . . . . . .14 7629. Donatello. Frieze, in marble, in very low relief. Chrift giving the keys to St. Peter . . . . . . . . .15 7619. Donatello. Bas-relief iketch, in terra-cotta, in two compartments. The Flagellation of our Saviour and the Crucifixion . . 17 7585. Donatello. Life-fized terra-cotta buft of St. Cecilia ... 18 7607. Donatello. Relievo, in plafter. St. George and the Dragon . 18 7624. Donatello, (afcribed to.) Relievo, in marble. The Virgin and Child, furrounded by a choir of boy-angels . . . . .18 5788. Donatello, (afcribed to.) Relievo, in terra-cotta. The Virgin and Child {landing in a niche ........ 20 5783. Donatello, (afcribed to.) Bas-relief, in terra-cotta. Regardant bufts of the infant Saviour and St. John the Baptift ... 20 7605. Donatello, (afcribed to.) Oval relievo, in terra-cotta. The Mag- dalen in glory furrounded by Cherubim . . . . .21 7412. Manner of Donatello. Relievo, in ftucco. The Virgin and Child 21 7590. Manner of Donatello. BafTo-relievo, in ftucco. The Virgin and Child 21 5896. (Afcribed to Donatello, or Defiderio da Settignano.) Chimney- piece, in pietra Jerena . . . . . . . .22 7582. Donatello, or Defiderio da Settignano (?). Virgin and Child. BafTo- relievo, in pietra ferena ........ 24 3004. School of Donatello. BafTo-relievo, in pietra ferena s an allegorical imperfonation of " Prudence." Florentine quattro-cento fculpture . 25 Notice of Donatello . . . . . . . 25 Lift of Donatello's Works in fit u . . . . . • 2 7 772OA. Defiderio da Settignano, (afcribed to.) (Died, circa 1485.) Mar- ble tabernacolo . . . . . . . . .28 7591. Defiderio da Settignano, (afcribed to.) Virgin and Child. Alto- relievo, in marble . . . . . . . . .28 7579. Defiderio da Settignano, (afcribed to.) Terra-cotta ftatuette. Amorino with a bunch of grapes ...... 29 7653. Manner of Defiderio da Settignano (?). Alto-relievo, in terra-cotta. The Virgin and Child 29 Contents. xxiii 7671. Antonio RoiTellino. (1427-1490.) Marble buft of Giovanni d San Miniato, dated 1456 ....... 4233. Antonio RofTellino. Virgin and Child ; baflb-relievo, in marble 7570. School of Donatello. Marble frieze ; the predella of an altar-piece 4495. Antonio RofTellino, (afcribed to.) The Virgin and Child ; terra- cotta group, in the round ....... 5891. Antonio RofTellino, (afcribed to.) Group in the round, of twc amorini holding up a dolphin ...... 5795. School of RofTellino or Defiderio. Sculptured frieze of a chimney piece .......... 7365. Manner of Defiderio (?). Virgin and Child; bas-relief, in terra cotta .......... 7502. Relievo, in marble, of the Nativity. Florentine fculpture ; fecond half of the 15 th century ....... Notice of RofTellino and Defiderio ..... Works of Antonio RoiTellino ftill extant .... Works of Defiderio da Settignano ltill in fit u 7599. Andrea del Verrocchio. (1432-1488.) Relievo, in terra-cotta A fketch for the monument of Cardinal Forteguerri, at Piltoia 7578. Andrea del Verrocchio. St. Jerome; ftatuette in the round, in terra-cotta ......... 7571. Andrea del Verrocchio. Crucifix, in terra-cotta 7586. Andrea del Verrocchio, (afcribed to.) Buft of our Saviour, in terra-cotta ......... 7576. Andrea del Verrocchio, (afcribed to.) The Virgin and Child Alto-relievo, in terra-cotta ...... 7398. Andrea del Verrocchio, (afcribed to.) Kneeling Angel holding ; candelabrum ; ftatuette, in terra-cotta ..... 491 1. School of Verrocchio (?). Small bas-relief, in marble. Chriil in the fepulchre, attended by two Angels .... Notice of Verrocchio ....... Principal Works of Verrocchio now in fit u 7598. Antonio Pollaiuolo. (1433-1498.) Relievo, in terra-cotta; combat of nude figures ....... 5887. Antonio Pollaiuolo, (afcribed to.) Circular relievo, in ftucco Notice of Pollaiuolo ....... Principal Works of Antonio Pollaiuolo .... 7559. Matteo Civitale. (1435-1501.) Marble flame of the Virg kneeling in prayer ........ 7569. Matteo Civitale. Marble tabernacolo or hexagonal fhrine 5899. Matteo Civitale, (afcribed to.) Marble frieze from a tomb . 7601. Matteo Civitale, (afcribed to.) Marble ftatuette of St. John the Baptift Notice of Civitale, and lift of his Principal Works now extant in Italy . Luca della "Robbia and his School. Introductory Notice ....... Lift of Works of Luca in Bronze and Marble now extant Lift of Works in Enamelled Terra-cotta .... Lift of Various Works of Luca, Andrea, and other Members of the Family ......... Page 29 30 3" 31 31 32 32 33 33 35 36 36 38 39 39 39 40 40 40 4' 42 43 43 44 44 45 45 46 46 47 Si XXIV Contents. Page 7609. Luca della Robbia. (1400-1481.) Sketch, in clay or flucco, for a portion of the Frieze, executed in marble for the cantoria of the cathedral at Florence . . . . . . . -S3 7610. Luca della Robbia, (afcribed to.) A monk, writing at a defk or leclern. Relievo, in terra-cotta, unglazed ..... 54 6740. Luca della Robbia. Circular medallion, relievo ; the arms and de- vices of King Rene of A njou ....... 54 438. Luca della Robbia, (afcribed to.) Relievo, the Adoration of the Magi . .57 441 1. Luca della Robbia, (afcribed to.) Bas-relief. The Virgin feated on the ground with the infant Saviour in her lap . . . • 57 7596. Luca della Robbia, (afcribed to.) Relievo, fupported on a trian- gular bracket, the Virgin adoring the infant Saviour . . .58 4032. Duplicate of the preceding piece, without the bracket . . 58 5401. Luca della Robbia, (afcribed to.) Circular relievo, the Nativity, furrounded by a border of fruit and foliage . . . . 58 7632 to 7643. Luca della Robbia. A feries of twelve circular medallions, painted in chiar'ofcuro, with imperfonations of the twelve months . 59 Works afcribed to Andrea della Robbia and to the Period of his AfTociation with Luca ....... 63 7630 Andrea della Robbia. (1437-1528.) Group of the Virgin and Child, feated under an arcade of fruit and flowers, fupported on a triangular bracket ......... 63 7547. Andrea della Robbia, (afcribed to.) Half-length figure of the Virgin with the infant Saviour, within an arched border of fruit and flowers 64 7702. Andrea della Robbia. Small ftatuette, the infant Saviour ltanding in the attitude of benediction ....... 64 4412. Andrea della Robbia. Altar-piece, the Adoration of the Magi . 65 5633. Andrea della Robbia, (afcribed to.) Circular relievo, the Madonna and Child . 66 6741. Andrea della Robbia. Altar-piece, with lunette, fubjefr, the legend of"LaCinto/a" 66 7614, 7615. Andrea della Robbia. Two kneeling Angels 66 7417 to 7420. Luca or Andrea della Robbia. Four pieces of a femicir- cular architrave or arch-band ....... 67 5890. Andrea della Robbia. Fragment, a coloflal head of an aged bearded man, for an imperfonation of the Almighty ..... 67 2555. Luca or Andrea della Robbia. Circular medallion, a head of Caefar 6j Works of the later Period of Andrea della Robbia, and of his Sons and Followers ........ 67 3986. Afcribed to Andrea or Giovanni (?) della Robbia. Alto-relievo of the Laft Supper ......... 67 7235. Andrea della Robbia (?), or of his School. Relievo, within an architectural framework. The Angelic Salutation ... 68 1090. Andrea or Giovanni (?) della Robbia. Small ftatuette of a female Saint, St. Catherine of Siena (?) 68 6736. Andrea della Robbia, or of his School. Tabemacolo, enamelled in varied colours .......... 69 1028. Andrea della Robbia, or of his School. Statuette of the young St. John the Baptift, kneeling in an attitude of prayer ... 69 7413. Andrea della Robbia, or of his School. Circular Medallion. The Holy Spirit as a dove defcending on fix kneeling ecclefiaftics . . 69 Contents. xxv Page 4235. Relievo of St. Jerome kneeling in prayer before a crucifix. A work of the Delia Robbia family (?) 70 4677. Afcribed to Andrea or Giovanni della Robbia. An amorino feated, playing on the bagpipes ........ 70 412. School of Andrea della Robbia. Relievo, in a femicircular-topped panel. A half-figure of the Virgin adoring the infant Saviour . 70 4065. Relievo ; the Angelic Salutation. A work of the Delia Robbia botega ........... 70 4248. School of Andrea della Robbia. Life-fized Itatue of St. Matthew . 71 2413, 2414. School of Andrea della Robbia. Statuettes of St. Stephen and St. Anthony . . . . . . . . 7 1 4563. Circular medallion. A "/lemma'* or coat of arms. Manufac- tory of the Della Robbia family . . . . . . 7 1 7397. Square armorial relievo or "ftemma." Manufactory of the Delia Robbia family . . . . . . . . . .72 4517. Square armorial fhield or " flemma" Manufactory of the Della Robbia family . . . . . . . . . 72 6863. School of the Della Robbia. Oval relievo, a recumbent River-god with an urn .......... 72 Italian Sculpture. 15 th and \6tb Centuries. Florentine School. 7720. Tribune, or Cappella Maggiore of the conventual church of Santa Chiara, Florence. Originally erected a. d. 1493 .... 73 7568. Manner of Defiderio da Settignano. Frontifpiece of a tabernacolo, in pietra ferena ......... 76 5888. Florentine quattro-cento fculpture. Bracket of a tabernacolo, in pietra ferena ..... ..... 77 5886. Florentine quattro-cento fculpture. Bracket of a tabernacolo, in pietra ferena . . . . . . . . . * 77 57 96. Florentine quattro-cento fculpture. Bracket of a tabernacolo , in marble ........... 77 5893. Florentine quattro-cento fculpture. Frontifpiece of a tabernacolo, in carved and gilded wood . . . . . . -77 6738. Chimney-piece, in pietra ferena. Florentine quattro-cento fculpture 78 5959. " Lavabo" (fountain or fink), in pietra ferena. Florentine fculp- ture; circa 1490 . . . . . . . . 7S 7631. Virgin and Child. BafTo-relievo, in marble. Florentine fculpture ; circa 1470 .......... 80 Florentine Quattro-cento Sculpture, conjeclurally afcribed to the School of the Maiani. 4102. The infant St. John the Baptift walking, in a landfcape. Small bas- relief, in marble . . . . . . . . .81 7625. St. John the Evangelift, ftatuette in terra-cotta; circa 1480 (?) . 81 7617. Lunette, baffo-relievo, in terra-cotta. The Eternal Father, in the act of benediction . . . . . . . . .81 7603. Lunette, bas-relief, in terra-cotta. The Eternal Father, in the act of benediction, accompanied by two angels . . . . .82 Notice of the Maiano family . . . . . . .82 Principal works of the Maiano family now extant ... 83 d xxvi Contents. Page Benedetto da Rovezzano, (afcribed to.) Circular medallion, in enamelled terra-cotta — a female buft, in full relief, in a con- cave or hemifpherical recefs . . . . . -83 6742. Andrea Ferrucci. Altar-piece, in Carrara marble, executed circa H9° • 87 6743. Andrea Ferrucci. Marble tabernacolo, " en fuite " with the altar- piece ........... 88 7359. Marble frieze and lunette of a tabernacolo. Florentine quattro-cento fculpture 88 6737. Alto-relievo, in Carrara marble. The Virgin and Child, with Angels. Florentine fculpture; circa 1480 ..... 89 7562. Alto-relievo, in marble, the Virgin and Child, by the fame hand as the preceding piece ........ 89 Notice of Mino da Fiefole and Andrea Ferrucci ... 90 Principal Works of Mino da Fiefole . . . . .91 Principal Works of Andrea Ferrucci . . . . .91 5895. Marble cantoria, or finging-gallery, of the church of Santa Maria Novella, Florence. The work of Baccio d' Agnolo; circa 1490- 1500 91 Obfervations on various Minor Works of Florentine Quattro-cento and Early Cinque-cento Sculpture. 95 7588. Florentine terra-cotta portrait buft of an aged man. Quattro-cento period ........... 99 4906. Florentine terra-cotta portrait buft of a man. Quattro-cento period 99 7621. Florentine terra-cotta portrait buft of a man wearing a " beretta." Quattro-cento period . . . . . . . .99 4599. Florentine terra-cotta portrait buft, faid to be of Fra Girolamo Sa- vonarola. Quattro-cento period . . . . . . .100 7587. Florentine terra-cotta portrait buft of a young man; circa 1500-20 100 7589. Florentine terra-cotta portrait buft of a man wearing a broad- brimmed hat or cap . . . . . . . . .100 7580, 7581. Two terra-cotta bufts of fhepherds. Florentine 16th-century fculpture . . . . . . . . . .IOI 4600. Terra-cotta buft; an ideal head of an aged man. Florentine fculp- ture ; circa 1500 . . . . . . . . . ioi 1085. Florentine terra-cotta buft of San Giovanni. School of Donatello . 101 6819. Florentine terra-cotta buft of San Giovanni. School of Donatello . 101 4496. Florentine terra-cotta buft of the infant San Giovanni. 15th century . . . . . . . . . . .102 7545. Florentine terra-cotta buft of San Giovanni. 15th century . . 102 4485. Florentine terra-cotta buft of a boy. Probably a San Giovanni ; circa 1490 (?) . . . . . . . . . .102 4497. Florentine terra-cotta buft of a young man, as San Giovanni; circa 1490(f) .......... 102 7584. Terra-cotta buft of Chrift. Florentine fculpture; circa 1528 (?) . 102 6862. Florentine terra-cotta buft of Chrift ; circa 1500-30 . . . 103 7245. Marble buft of Chrift. Cinque-cento fculpture .... 103 7602, 7402. Two Florentine terra-cotta ftatuettes of David, by the fame unknown mafter ; circa 1490 . . . . . . .103 Contents. xxvii Page 4230. Florentine terra-cotta group of three finging Angels. By the fame hand as the preceding ftatuettes ; circa 1490 ... . . .105 7616. Florentine terra-cotta bull of San Giovanni. Quattro-cento fculp- ture, by the fame hand as the three preceding fpecimens . .105 7654. Florentine terra-cotta ftatuette of St. Sebaftian ; circa 1490 . . 105 7604. Florentine terra-cotta ftatuette of St. Catherine. Quattro-cento period . . . . . . . . . . .106 7618. Florentine terra-cotta ftatuette of St. Sebaftian. Quattro-cento period . . . . . . . . . . .106 7575. Florentine terra-cotta ftatuette. Quattro-cento period. The young St. John the Baptift feated on a rock . . . ... .106 7658. Florentine terra-cotta ftatuette. A ftanding draped figure of a female Saint ; circa 1 500-20 (?) . . . . . . .106 7583. Florentine terra-cotta ftatuette. A kneeling figure of St. John the Baptift; quattro -cento period . . . . . . .106 7403. St. John the Evangelift ftanding in an attitude of grief. Statuette, in terra-cotta. Florentine fculpture ; circa 1500 . . . .107 7395. Bas-relief, in terra-cotta. The Crucifixion. Florentine fculpture circa 1490 . . . . . . . . . .107 5767. The Virgin and Child ; bailb-relievo, in painted ftucco. Florentine quattro-cento fculpture . . . . . . . .107 5768. The Virgin and Child; relievo, in ftucco, within a carved and painted wooden ftirine. Florentine work ; circa 1500 . . .108 7622. Relievo of the Virgin and Child; in ftucco, in an ornamental fhrine or tabernacolo. Florentine fculpture ; circa 1480 . 7612. Medallion relievo, in terra-cotta. The Madonna and Child, encir cled by a wreath of bay-leaves. Florentine quattro-cento period . 109 4499. Florentine terra-cotta ftatue of the Virgin kneeling. Quattro- cento period . . . . . . . . . .109 6965. Florentine terra-cotta ftatuette of a Saint. Circa 1490 . . 109 5889. A female profile head, relievo in marble. Florentine quattro-cento fculpture .......... Sculpture of the Neapolitan School. \$tb and 16th Centuries. 7473. Madonna and Child. Bas-relief, in marble. Neapolitan fculpture 15 th century ......... 7449, 7450. Two fmall relievos, in marble; a kneeling Monk, and a Pop kneeling before an altar. Neapolitan (?) fculpture; circa i49o(r) 7389, 7390. Two relievos, in marble, the fide compartments of an altar piece. Neapolitan quattro-cento fculpture .... 7388. Sepulchral effigy of a Lady, in marble. Neapolitan fculpture circa 1500 . . . Sculpture of the North Italian Schools — Venice, — Milan, i$th and 1 6th Centuries. 4234. Virgin and Child, with two boy-angels. Relievo, in Iltrian ftone. Venetian fculpture ; circa i47o-8o(?) . . . . .114 4887. Lavelhy or domeftic fountain, in Iltrian ftone and veined marble. Venetian fculpture ; circa 1500 . . . . . . 115 109 1 10 1 1 1 I 12 112 xxviii Contents, Page 5399, 5400. Two brackets of a balcony, in Iftrian Hone. Venetian fculpture ; circa 1490 . . . . . . . .115 4884, 4885. Two brackets of a balcony, in Iftrian ftone. Venetian fculpture; circa 1490 . . . . . . . .116 5390, 5391. Statues of the Virgin and the Announcing Angel, in Iftrian ftone. Venetian (?) fculpture ; circa 1500 . . . . .116 442. Chimney-piece, in carved ftone, afcribed to Tullio Lombardi; circa 1520-30 116 5397. Pilafter, or jamb of a chimney-piece, in Iftrian ftone. Venetian fculpture; circa 1500 . . . . . . . .117 5395. Stone chimney-piece. North Italian fculpture, from Como ; circa J 500-20 . . . . . . . . . .117 7721. Stone chimney-piece. North Italian fculpture, from a villa near . Brefcia; circa 1560 . . . . . . . .118 5469. Alto-relievo, in bronze. A Pieta, or the dead Chrift fupported by the Virgin. Afcribed to Vellano of Padua ; circa 1460 . . 118 411. Statuette, in bronze, of the infant Saviour. North Italian fculpture; circa 1480 . . . . . . . . . .119 4217. Circular medallion relievo, in bronze. The flight into Egypt. North Italian fculpture ; 15th century . . . . .119 7452. Circular medallion relievo, in marble, an aged Man holding an a?norino in the palm of his hand. North Italian fculpture ; circa 1480 1 19 440. Portrait-relievo, in marble, of Francefco Cynthio. North Italian (?) fculpture; circa 1450^) . . . . . . . .120 6923. Alto-relievo, in marble, profile portrait buft, believed to be of Ludo- vico Sforza Vifconti. North Italian fculpture ; circa 1490 . .120 4683. Terra-cotta tile, a portion of an arch-band. North Italian fculp- ture; circa 1490 . . . . . . . . .121 7674, 7675; 7367, 7368; 7673. " Stemma" or coat of arms. Similar "Jlemma." Two portions of femi-attached columns, and a pediment from a door, in Iftrian ftone. Circa 1500; brought from a palace at Cefena . . . . . . . . . .121 7534. The Virgin and Child within a circular medallion, in wood, painted and gilt. Milanefe fculpture ; circa 1500-20 . . . .121 4676. Small relievo, in marble. The entombment. North Italian fculp- ture; circa 1540 . . . . . . . . .122 Genoefe Sculpture. i$tb and 16th Centuries. 7255. Relievo, in black flate. St. George and the Dragon . . . 123 7256. Similar relievo . . . . . . . . .124 7254. Relievo, in black flate. The Angelic Salutation. Genoefe fculp- ture; fecond half of the 15th century . . . . . .124 7551, 7551 a, and 7551 b. Lunette and two piers of an altar-piece, in marble. Genoefe (?) 15th-century fculpture . . . .124 7253. Chimney-piece, in black flate. Genoefe fchool ; circa 1520 . 125 Various Works of Uncertain Origin. i$tb and 16th Centuries. 4564. Grotefque Sphinx or Syren, in marble, a portion of a fountain ; 1 5th century . . . . . . . . . . .126 5394. Pilafter, in marble, decorated with trophies ; circa 1500 . .126 Contents. XXIX 7363. Marble frieze of an altar-piece, decorated with the facro volto or face of our Saviour on a napkin ; circa 1490 .... 7626. Portrait relievo, in marble, a profile head of a young man; circa '45° • • . ■ 4562. The Virgin and Child, ftatuette in marble; circa 1400-20 . 444. Group in the round, in marble. Statuettes of the Virgin and Child and St. John ; circa 1500-20 ....... 7431. Alto-relievo, in bronze. Judith with the head of Holofernes ; circa 1540 .......... Italian Sculpture. Michael Angelo 7560. 41 14. Model, in wax, fketch for a group of Hercules A mafk, fketch in terra-cotta . Statuette of the young Apollo; model, in red wax Small flame, in marble; an unfinifhed figure of i$tb and \6tb Centuries. Buonarroti. Preliminary Notice ....... Lift of the Principal Works of Michael Angelo now extant . Michael Angelo. Cupid, life-fized ftatue in marble Michael Angelo. Skeleton or anatomical ftudy. Model, in red wax .......... 4109 to 41 13. Michael Angelo. A feries of five anatomical models, in wax of arms and legs, being ftudies for portions of projected works 4106. Michael Angelo. David; original model, in wax 41 17. Michael Angelo. Small fketch of a flave or telamone y model, in wax 4108. Michael Angelo. flaying Cacus . 4107. Michael Angelo. 41 16. Michael Angelo. 7561. Michael Angelo. St. Sebaftian ......... 4105. Michael Angelo. Torfo of a female; model, in black wax . 4104. Michael Angelo. A colollal Left Hand ; model, in terra-cotta 41 19. Model, in terra-cotta. A reduced copy of Michael Angelo's re- cumbent ftatue of " La notte" ...... 4122. School of Michael Angelo. Recumbent figure of a naked Man model, in terra-cotta. Circa 1560 ..... 6735. Jafon. Statue in marble ; by one of the earlier fcholars of Michae Angelo. Circa 1530(f) ....... 4123. Jonah ; model in terra-cotta, afcribed to RaffaelJe (or Lorenzotto) Preliminary fketch for the marble ftatue in Sta. Maria del Popolo Rome .......... Italian Sculpture. \6tb Century. Florentine School. 4103. Baccio Bandinelli, (afcribed to.) Model of a Cow lying down, in terra-cotta .......... 7386. Baccio Bandinelli. Relievo, in ftucco. A " Pieta," or Depofition from the Crofs ......... Notice of Baccio Bandinelli ....... Lift of the Principal Works of Bandinelli ftill extant . 5769. Francefco di San Gallo, (afcribed to.) A Fragment, being a group of two a morini ; circa i54o(?) . 741 1. Francefco di San Gallo, (afcribed to.) Oval relievo, in ftucco, the Virgin and Child feated on clouds; circa 1540-60 Page 127 127 127 128 128 129 132 ! 33 136 137 l 37 140 141 144 H5 H5 H7 H7 148 148 148 149 152 152 *53 154 l SS xxx Contents, Page 1 5 1 8. Pierino da Vinci. A Holy Family ; bafTo-relievo, in bronze . 156 2626. Statuette of a deformed Dwarf, in bronze. Florentine fculpture ; circa 1550 . . . . . . . . . .157 41 21. Giovanni Bandini ; called Giovanni del' Opera. Sketch in terra- cotta, for an allegorical figure of Architecture ; circa 1564-68 . 158 7595. Iacopo Sanfavino. The Depofition from the Crofs. Original model, in wax ; executed circa 1500-24 . . . . 159 7716. Bartolommeo Ammanati. Group, in unbaked clay, of Hercules and Antaeus ; circa 1550-5 . . . . . . .162 1 09 1. Bartolommeo Ammanati, (afcribed to.) Sketch, in unbaked clay, for a flattie of Neptune . . . . . . . .163 Notice of Bartolommeo Ammanati . . . . . .163 4128. Giovanni di Bologna. BafTo-relievo fketch, in terra-cotta; the Rape of the Sabines . . . . . . . .164 1092. Giovanni di Bologna. Model, in red wax, in the round, a group of the Rape of the Sabines . . . . . . .164 1 6 1 9. Giovanni di Bologna, (afcribed to.) Relievo, in ftucco; the carrying off of Helen . . . . . . . . . .165 7627. Giovanni di Bologna, (afcribed to.) Model in the round, in terra- cotta; Hercules fubduing a Centaur . . . . . .165 5897. Giovanni di Bologna. Statue of Venus, in ftucco or gejfo duro . 165 Notice of Giovanni di Bologna . . . . . .165 Lift of his Works . . . . . . . . . • 166 7628. Pietro Francavilla. Statuette, in gilded terra-cotta; an allegorical figure of Fame . . . . . . . . .167 6920. Adrian Fries. Relievo, in bronze, profile portrait of the Emperor Rudolph II; dated 1609 167 6739. Chimney-piece, mpietra ferena. Florentine fculpture ; circa 1550. 167 7623. Life-fized portrait buft, in ftucco or gejfo duro. Florentine fculpture; circa 1550 . . \ . . . . . . .168 6991. Portrait relievo, in terra-cotta, on an oval flab. Florentine fculp- ture; circa 1560 . . . . . . . . .168 7608. A fleeping Nymph, Florentine terra-cotta relievo, 16th century . 169 Sculpture of the North Italian School. \6th Century. Agoftino Bufti of Milan, called II Bambaia. Sculptures from the tomb of Gafton de Foix : — . . . . . .170 4912. Statuette in marble, an imperfonation of Fortitude . . .170 7100. Statuette of Charity . . . . . . . .170 7260. Alto-relievo, a man in antique coftume leading a horfe . . 170 400. Alto-relievo, two nude figures fhooting arrows . . . .170 7257. Alto-relievo of a warrior in a triumphal car drawn by two horfes . 170 Lift of Fragments of the Tomb of Gafton de Foix known to be extant . . . . . . . . . .178 Other Works of Agoftino Bufti ftill extant . . . . 179 439. Coloflal buft, in marble, of a Senator or ProfefTor. North Italian fculpture; circa 1570 . . . . . . . .179 362. Life-fized bronze buft of a Doctor or Jurift. North Italian fculp- ture; circa 1550-70 . . . . . . . .179 Contents. xxxi Italian Sculpture. i"/tb Century. Page 7529. Marble buft of an Ecclefiaftic or Legal Dignitary. Roman fculp- ture ; circa 1 600 . . . . . . . . .180 7530. Marble buft of a Lady. Roman fculpture ; circa 1600 . 181 7531. ColofTal buft of a Man, in the {iyle of the antique, in marble. Roman 1 6th or 17th century work . . . . . .181 3348. Oviform vafe, with cover, carved in travertine . . . .181 7676. Marble fountain, furmounted by a ftatuette of Bacchus. School of Giovanni Bologna ; circa 1600 . . . . . . .182 764.7. Sketch, in terra-cotta, of a Bifhop. 17th-century fculpture . 182 7358. Group of the Virgin with the dead Chrift, and other figures, in terra-cotta. Florentine 17th century . . . . . .182 4134. Relievo of the Nativity. Model, in wax. 17th century . . 182 5803. Triumph of Galatea. Relievo, in marble. 17th century . . 183 7717, 7718. Two relievos, in terra-cotta, of Amorini. Roman (?) 17th- century fculpture . . . . . . . . -183 5422. ColofTal head of a Pope or Bifhop, in beaten copper. 17th century 183 5863. Statuette of St. Jerome, in terra-cotta ; after Bernini . . . 18 + 7527, 7528. Two coloffal marble bufts of Mufes or Sybils. School of Bernini . . . . . . . . . . .184 1088. ColofTal bronze buft of Pope Innocent X. Roman 17th-century fculpture; ftyle of Bernini . . . . . . .184 1089. Similar buft of Pope Alexander VIII. ..... 185 Notice of Bernini . . . . . . . . .186 Lift of the Principal Works of Bernini . . . . .188 7620. Terra-cotta buft of a Gentleman, fuppofed to be Marfhal Turenne. Florentine 17th-century fculpture . . . . . .188 6818. Terra-cotta buft of Cofmo III, Grand Duke of Tufcany. Floren- tine 17th or early 1 8th century fculpture . . . . .189 7655. Amorino, in a fhell, with feftoons of flowers, in terra-cotta. Flo- rentine 17th-century fculpture . . . . . . .189 Index of Mafters and Schools . . . . . . . .190 Table of Reference from the Regifter Numbers of the fpecimens to the pages in which they are defcribed . . . . . .191 CATALOGUE. Italian Sculpture. 1 3th and 1 4th Centuries. THE PISANI. 5797 to 5800 inclufive. WO ftatues of Archangels and a group of three Saints, originally the angle-piers of a marble pul- pit, and a group of an Angel with the Symbols of the Evangelifts, formerly the pedeftal or fupporting fhaft of a reading-defk. Afcribed to Nicola or Giovanni Pifano. Date, fecond half of the 13th century. Height of the angle- piers 3 feet 3 inches, height of the pedeftal 1 feet 9 inches. Thefe fragments came from a church in the neighbourhood of Pifa, and the original pofition, in work, of the three angle-piers may be feen from a photograph, placed near them, of the celebrated marble pulpit by Nicola Pifano in the baptiftery of the cathedral at Pifa, correfponding details of which they clofely refemble. A reading-defk, fupported on a precifely fimilar fhaft to No. 5799, may ftill be feen in its original pofition in the church of San Giovanni fuor-civita, at Piftoia. Nicola Pifano is the earlieft mediaeval fculptor, whofe name, uni- verfally celebrated in his own day, has alfo defcended to the prefent age with undiminifhed luftre. For many centuries before his time all re- prefentations of the human figure were either very barbarous or were of the monotonous and corrupt ftyle, which, being the refult of the gradual decline of antique Roman art, was finally, towards the 9th or 10th centuries, reduced to an unchanging fyftem by the Byzantine artifts. Italian Sculpture. Vafari tells us that Nicola was the firft who refcued fculpture from the thraldom of mediaeval Greek art, and, what is very remarkable, through the direct influence of the works of antique Greek and Roman fculpture, with which his fellow-citizens had enriched the public places and buildings of their city. By the ftudy and admiration of thefe monuments, moft of which remain to this day at Pifa where they were originally placed, Nicola, fupported by his fon and fcholars, effected a real though partial and tranfitory revival of art. In the prefent fpecimens the influence of the antique is very apparent ; the head of the angel (No. 5800) might almoft be taken for that of an ancient ftatue, whilft the grand and fevere yet natural ftyle of the draperies further conduces to this impreflion. The new manner of the Pifani fchool was not, however, deftined to laft, and all traces of the direcl: imi- tation of the antique feem to have difappeared again from Italian fculp- ture in the earlier years of the 14th century. (See Engraving of No. 5800.) 75 6 3- LTO-RELIEVO, in marble ; the Salutation of the Virgin, — probably the frontal of an altar. Florentine fculpture; circa 1300-20 (?). Formerly in the church of Santa-Croce, Florence. Width 4 feet 1 inches, height 2 feet 5 inches. (Gigli-Campana Collection.) The manner of the Pifani fchool is in this work confiderably modi- fied, and new and original influences are perceptible. The commence- ment of that very chara&eriftic but not very defcribable ftyle, which may, for want of a better defignation, be called the "Gothic influence," and which prevailed with fingular conftancy during the greater part of the 14th century, is here obvious. The painter Giotto, and his fol- lowers, Andrea Pifano and Andrea Orcagna, are perhaps the guiding- lights of this period. [See Engraving.) 745 l • LTO-RELIEVO, in marble; Santa Barbara. Afcribed to Andrea or Nino Pifano; circa 1340. Height 17^ inches, width 12 inches. The figure, in mezzo-relievo {landing on a bracket, fills a flat panel, \^th and i^th Centuries, and was probably, when in fitu^ furrounded with a border of glafs mofaic work. The faint holds in one hand a tower — her ufual emblem — and in the other a large label fcroll infcribed in elegant characters, " X^o . rex . venit . in . pace . et . deus . homo . fatus . eft . verbum . caro . fatum . eft." This relievo was acquired in Naples and is believed to be a relic of fome deftroyed work of either Andrea or his fon Nino, the latter of whom is recorded by Vafari to have executed works in Naples. Whilft further removed from the naturalifm and antique bias of the angels of Nicola (?) already defcribed, it is evidently a;more advanced and original production. It is very analogous in ftyle to the relievos of the bronze doors of the baptiftery at Florence, executed by Andrea, and is an excellent fpecimen of that pure mediaeval Italian art, which henceforth, mainly in the city of Florence, progrefted ftep by ftep to the full glory of the revival, culminating at laft, towards the end of the 15th and early years of the 16th centuries, in an excellence different it is true but equal in degree to the higheft achievements of antiquity. 7566, 7567. CHOOL of the Pifani. Circa 1340 (?). Two draped Angels ; ftatuettes, or relievos, in marble. Fragments from a tomb. Height 2 feet 1 inch. (Gigli-Campana Collection.) Thefe fragments came from the upper part of a mural fepulchral monument, of a type very conftantly adhered to in the firft half of the 14th century, efpecially in the fouth of Italy. Vifitors to the churches of Rome and Naples will fcarcely fail to call to mind the clafs of monuments in queftion, from the mere fight of thefe details. They may be thus generally defcribed : — a fquare altar- tomb, carried on brackets, projects a certain diftance from the wall of the church ; upon it lies the effigy of the deceafed, whilft a recefs funk into the wall forms a tent-fhaped canopy above ; the curtains, fculp- tured in marble, are drawn back by two angels ftanding one on each fide, as exemplified by the prefent fpecimens. 4 Italian Sculpture. 7600. IRGIN and Child, afcribed to Nino Pifano ; group or ftatuette, in marble. Height 1 foot 8 inches. (Gigli- Campana Collection.) Lefs beautiful and refined than the previous fpecimen, yet the pre- fent is probably fomewhat more recent in date. The Gothic element is ftill more diftinctly vifible. Notice of the Pisani. ICOLA PISANO, (born betwixt 1205 and 1207 ; died 1278.) tj His principal works now extant are : — Lucca. Depofition from the Crofs — relievo over the portal of the cathedral. (1233.) Bologna. The marble fhrine of St. Domenico, in the church of that faint. Pisa. The marble pulpit in St. Giovanni, in the baptiftery near the cathedral. (1260. ) Siena. The marble pulpit in the cathedral. (By Nicola, or his fon Giovanni.) Giovanni Pisano, son of Nicola. (Date of birth unknown. Died 1320.) Perugia. Fountain in the piazza near the cathedral. (1280.) Pisa. Sculptures in the church or chapel of Sta. Maria della Spina. Marble pulpit in the cathedral. (131 1.) Andrea Pisano. (Born about 1270; died 1345.) No relative of the preceding artifts, although a pupil of Giovanni. His principal work is : — Florence. Bronze doors of the baptiftery, faid to be from the defign of Giotto. (Circa 1330.) Nino Pisano, son of Andrea. (Died before 1368.) Pisa. Statues of the Virgin and Child, in the chapel of La Spina. \^th and \\th Centuries, 75 6 4- LTO-RELIEVO, in marble, Tufcan (?) fculpture; circa 1400. Matter unknown. Width 2 feet 8J inches, height 2 feet 3 \ inches. (Gigli-Campana Collection.) The Virgin, feated on a throne, holds the infant Saviour ftanding on her knee ; on each fide is a ftanding draped angel, the one on the left holding a candelabrum. A fhield of arms in the lower part of the relievo on the left is probably that of the donor. This work offers an interefting example of the tranfition from the early conventionalifm of the 14th century to the freer and more natural treatment of the fucceeding age. There is no clue either to the author of this work or the locality where it was produced. Italian Sculpture. 15th Century. 7572. ACOPO DELLA QUERCIA. (1374— 1438.) Alto-relievos in terra-cotta, a , aa a^aaa. a a a.a a^A.^> ;>j . a a a a A.A. J - i t< i$th Century. 15 ground, in low relief, are other angels in attitudes of violent grief. Originally the front (dojjale) of an altar. Length 3 feet 9 inches, height 2 feet 7^ inches. (Gigli-Campana Col- lection.) The admirable torfo of the dead Saviour in this relievo is fo fimilar in ftyle to that of the Chrift in the Pieta of Michael Angelo, in St. Peter's, that it is not unreafonable to fuppofe Michael Angelo to have been acquainted with it. That he reverenced and carefully ftudied the fculptures of Donatello is well-known ; and although the original loca- lity of this indubitable work of the mafter has been loft fight of, its intrinfic importance muft have rendered it a well-known work, efpe- cially in the period immediately fubfequent to its production, when every fragment from the hand of the great mafter was treafured up and appreciated, (See Engraving.) 7629. ONATELLO. Frieze, in very low relief, in marble. Chrift feated on clouds, giving the keys to St, Peter, in the prefence of the Virgin and the Apoftles. Length 3 feet 9 inches, height 1 foot 4 inches. (From the Campana Mufeum.) The entire accordance in ftyle with the preceding work is ob- vious ; the two boy-angels in the left-hand corner of the compofition are of exactly fimilar type to thofe in the other compofition. This relievo, moreover, is in every refpect identical in manner with the bas- relief on the tomb of Cardinal Brancacci in the church of St. Angelo a Nido in Naples, lauded by Vafari in his life of Donatello, and which is ftill in fiiu. In the year 1591 this relievo was noticed by a writer on art as one of the principal and well-known works of fculpture which then adorned the city of Florence, being the property of the Salviati family. The following account characterizes this work with great judgment, and, undoubtedly, eftablifhes its identity with the prefent marble, which, it fhould be ftated, was acquired for the Marchefe Campana in Florence : — " Picture in marble in bas-relief, by the hand of Donatello — in which is portrayed the giving of the keys to Peter by our Saviour. This work is highly efteemed by the artifts — the which ■* 16 Italian Sculpture. is of rare compofition and marvellous defign. The figure of Chrift is greatly commended, as well as the eagernefs and energy which is apparent in the St. Peter. Likewife the Madonna on her knees, in an affectionate and devout attitude, the expreffion of whom is ad- mirable. " * This work does not feem to have been executed with any fpecial monumental deftination ; and it is probable that it pafled at a very early period, into private hands, in the fame manner as the various works executed for the Martelli, which went direct from the artift to the galleria of that family, where they are ftill preferved. The ancient carved cheftnut-wood frame in which the relievo is inferted is doubtlefs the one made for it by the Salviati, its date being obviouny towards the end of the fixteenth century. It may be obferved that the celebrated relievo of the Brancacci tomb at Naples, which, the prefent work fo exaclly refembles in ftyle and general afpe<5t, has every appearance of having been inferted in the monument, either as an after-thought, or as a detail previouily extant, for which it was necef- fary to provide a place, being entirely diflimilar in treatment to the reft of the work, and on a much more minute fcale. In the low diffufed light of the church this relievo is almoft invifible — requir- ing, at firft fight, almoft the evidence of aclual touch to diftinguifh it from the furrounding plane furface of the marble. Now it feems fcarcely likely that the artift fhould have defigned fuch a work for fuch a pofition ; and, from a careful confideration of the entire monu- ment, taken in connection with documentary evidence refpe&ing it ftill extant, it feems evident to the writer, that the relievo in queftion (and for the fame reafon alfo the prefent) was originally executed by Donatello, without any fpecial object, or deftination ; and that, having acquired great reputation whilft ftill in his own pofTeflion, it was (pro- bably by the wifh of the reprefentatives of Cardinal Brancacci) inferted in the tomb, juft as a celebrated picture would have been enfhrined in the elaborate architectural ftru6lure of an altar. Admirable and grand indeed as is the Brancacci tomb, it is fomewhat fragmentary in defign. It may be here noted indeed of Donatello, that he does not feem to have had any fpecial gift as an architect or ornamentift ; few of his works * Francefco Bocchi, " Le Bellezze della Citta di Fiorenza," 121110. Florence, 1591, p. 185. " In cafa de Francefco et Lorenzo Salviati * quadro di marmo/ di mano de Donatello di baflb-relievo : dove e effigiato, quando da le chiavi Chrifto a S. Piero e ftimata molto dagli artefici quefta opera 5 la quale per invenzione e rara, & per difegno maravigliofa. Molto e commendata la figura di Chrifto, & la prontezza che fe fcorge nel San Piero ; & parimente la Madonna porta in ginocchione, la quale in atto affec- tuofo ha fembiante mirabile, & divoto.' 1 $th Century. 17 pofTefling that affluence of detail or decorative completenefs which dif- tinguifh the productions of his contemporaries. In this refpect alfo there is a lingular analogy betwixt Donatello and Michael Angelo. The fact of the author of the " Bellezze " having noticed this modeft and fomewhat archaic-looking relievo, teftifying as it does to its great repu- tation even in the corrupt age of the decline of Florentine art, is an interefting proof of the immenfe renown of its author in his own city ; a renown which, until very recently, from the non-occurrence of au- thentic work of the mafter elfewhere than in Italy, was, as it were, taken on truft by the reft of Europe. {See Engraving.) 7619. ONATELLO. Bas-relief fketch, in terra-cotta, in two compartments with detached frieze or predella beneath ; the composition enclofed within an architec- tural frame- work or frontifpiece. Entire height 3 feet 2§ inches, width 2 feet 9 inches. (Gigli-Campana Collection.) In the compartment on the right is an animated compofition of many figures ; the fcene, laid within an arched hall, reprefenting the flagellation of our Saviour. On the left the fubject is the Crucifixion, the foreground in front of the crofs filled with a crowd of figures, chiefly women, in energetic attitudes of grief; the frieze or predella beneath offers a beautiful compofition of amorini, fupporting large gar- lands, whilft others hold up ihells, containing alternately a fhield of arms and a claflical buft. Other amorini, holding garlands, decorate the key-ftone and fpandrils of the architectural frontifpiece. The wooden framework of the relievo, though unfortunately repainted at a recent period, is the original mounting of the time. This exquifite fketch was in all probability a project for fome work in bronze of the later period of the mafter, as it ftrongly refembles in general ftyle, and alfo in fpecific details, the relievos of the bronze pulpit of San Lorenzo ; feveral of the figures of the forrowing women are indeed almoft iden- tical with thofe of the fimilar compofition in one of the panels of the laft named work. (See outline of Depofition from the Crofs, in Atlas to Cicognara, " Storia della Scultura," PI. 8, Second Series.) Italian Sculpture. 75*5- ONATELLO. Life-fized buft, in terra-cotta, of St. Cecilia (?). Height 1 foot 6 inches. (Gigli-Campana Collection.) The grand manner and fpecific phyfiognomic type of Donatello are plainly vifible in this buft, which was probably an eflay for the head of a great ftatue. 7607. ONATELLO. Relievo, in plafter. St. George and the Dragon, in a carved wooden frame of the 1 6th century. Length 2 feet 8 inches, height 1 foot i\ inches. (Gigli-Campana Collection.) An ancient caft, in plafter or ftucco, from the well-known marble bas-relief, forming part of the architectural framework of the niche in which ftands the celebrated ftatue of St. George, at the church of Or San Michele in Florence. This compofition (fee Life, in Vafari) was always much admired, efpecially for the horfe ; and it is interefting to note, how, a century afterwards (for the prefent caft, judging from the ornamental frame, which was evidently ? f made for it, muft have been taken about 1550) the reputation of Donatello was ftill held in the higheft efteem in his own city, and even his flighted works pre- ferved and reproduced with evident affection. This reproduction is moreover valuable, as the original work, during the courfe of the three centuries which have elapfed fince the caft was taken from it, has fuf- fered from the injuries of time. 7624. ONATELLO, (or one of his immediate Scholars.) Relievo, in marble. The Virgin and Child, furrounded by a choir of boy-angels. Firft half of 15th century. Height 3 feet 4 inches, width 2 feet 7 inches. (Campana Mufeum.) This remarkable work (executed in flat relief) reprefents the Virgin feated on a throne with the Child in her lap. In the upper part are two flying angels blowing trumpets ; in the lower part two others i $th Century. 19 Handing, holding in their hands objects of uncertain fignification, being long rods with circular difcs at their fummits. At the bottom, on the right, a kneeling boy-angel, in a daring forefhortened pofition, is playing the double flute. The figures are all draped with a thin ftufF, which clings in intricate folds clofe to the limbs ; the ground-fpaces are per- forated or cut through, and the entire group of figures is fhaped round to the forms. The piece has thus no background, and it was obvioufly intended to be fitted into a hollow panel or cofFer. The marble is of a very hard, coarfe defcription, full of black veins, and the execution, though characterized by a certain rude vigour, is imperfect, and even in fome refpe£ts weak. The drawing of the figures alfo is full of inaccuracies ; thefe defects, on the other hand, are loft fight of in the pidlurefque and artiftic general afpe£t of the work, and are, indeed, more than counterbalanced by other remarkable qualities -, as, for inftance, in the kneeling angel in the foreground, by the moft daring and novel attempts at forefhortening ; and in general by a fearlefs encountering of technical difficulties, and a defiance of the eftablifhed conventionalities of the epoch, which contraft in a remarkable man- ner with the coarfenefs of the work, and the evident want of ma- nipulative (kill. The perforated background fpaces were, without doubt, originally filled in with maftic, in which were imbedded mofaic tejfera of gilded glafs, precifely as may be feen in the fimilar fpaces in the famous relievo of the finging-boys in the Florence gallery. The general ftyle and fpecific method of execution of the prefent relievo, indeed, agree fo entirely with the laft-mentioned work, that it feems almoft certain that one of them muft have been done in imitation of the other. It is fcarcely neceflary to fay that the relievo of the finging-boys is a work of much greater excellence than the prefent ; this relievo, befides, has an evident appearance of earlier origin ; and it appears to the writer reafonable to fuppofe it to be, in fa<5t, a production of the extreme youth of Donatello. On any other fuppofition it muft be held to be the work of one of his fcholars, executed in imitation of the ftyle of the " finging-boys." The entire work difplays, however, fuch ftrong evidence of youthful timidity and inexperience, combined, at the fame time, with glimpfes of power and originality, that the writer cannot but ftrongly incline to the former hypothefis. It is a truifm to obferve that even the greateft artifts have had periods of early tentative effort ; and although the imperfect productions of youthful genius have feldom had a long duration, being fo foon eclipfed and difcredited by higher performances, ftill ifolated juvenile works of artifts, of fuch an early period even as this of Dona- 2o Italian Sculpture. tello, muft have furvived the accidents of time and the indifference of connoifleurs. The fact, moreover, that the prefent example was obvioufly a monumental work erected in fome church or fhrine, in all probability never difturbed till the day of its final dislocation and removal in our own time, renders its prefervation as an early imperfect work of a great mafter far more eafily credible than if it were fome minor moveable object:. 5788. ONATELLO, (afcribed to.) Relievo, in terra-cotta, inferted in an architectural fhrine framework of wood. The Virgin and Child ftanding in a femicircular niche, the upper part of which is formed by a ribbed mell. Height of relievo 1 feet 1 inch, width 1 foot. It is difficult to afcribe this dignified figure to any other hand than that of the great mafter himfelf. The marked refemblance which it difplays to the allegorical figures of the tomb of Pope John, in the baptiftery of San Giovanni, and alfo to the caryatides of the Brancacci tomb at Naples, fully warrants the belief that the defign at leaft, if not the actual execution, is his. 5783- ONATELLO, (afcribed to.) Bas-relief, in terra-cotta. Regardant bufts of the youthful Saviour and St. John the Baptift. Height 15 inches, width 15 inches. Several repetitions of this compofition exift, the extremely flat relief [relievo ft la cci at 0) rendering it eafy to reproduce it by moulding or fqueezing. In all probability the original of the work, in marble, was from the hand of Donatello. The prefent terra-cotta is a reproduction of the time, and has been retouched by a fkilful hand. $th Century. 21 7605. ONATELLO, (or one of his Scholars.) Oval relievo, in terra-cotta, in carved wooden border. Height 21 inches, width 12 inches. (Gigli-Campana Collection.) An emaciated figure of the Magdalen ftanding on clouds and unrounded by a glory of Cherubim. This figure, although called in the Gigli Catalogue a " San Giovanni battifta" is obvioufly a penitent Magdalen. It refembles fo clofely the famous wooden ftatue by Donatello, in the baptiftery of San Giovanni, as to be virtually a copy from it. The carved frame was made for the terra-cotta, circa 1550. 7412. ERIOD of Donatello. Relievo, in ftucco or gejfo duro. The Virgin and Child. Width 2 feet 3 inches, height 2 feet. The Virgin feated in a chair, feen down to the knees in a profile or " three-quarter view," embraces with both hands the Divine Infant ftanding in her lap. The Child is enveloped in fwaddling-clothes in the cuftomary fafhion of Italy. The borders of the draperies, ornaments of the chair, and glories round the heads of the figures, are enriched with elegant ornamental patterns in gold. The grand ftyle of this relievo refers it at once to the immediate period of Donatello, of whom, indeed, it is by no means unworthy. BafTo-relievo, in ftucco or geffb 7590. I ANNER of Donatello. * duro. Height 2 feet 6f inches, width 2 feet 1 inch. (Gigli-Campana Collection.) The Virgin, a half-length ftanding figure beautifully draped, holds the Divine Infant in her arms in an attitude of affectionate reverence. The great fimilarity of ftyle betwixt this and the relievo previoufly defcribed (No. 7412) renders it molt likely that they are both by the fame hand. The prefent, however, is in the extremely low or flat relief. 22 Italian Sculpture, 5896. SCRIBED to Donatello, or Defiderio da Settignano (?). Chimney-piece, in pietra ferena, or Florentine black ftone. Width 12 feet, height 8 feet 6 inches. The architectural defign of this chimney-piece is very fimple, — two jambs or vertical pilafters, furmounted by maffive confole brackets, fupport a boldly-projecting cornice of feveral members, which crowns the work ; beneath the cornice is a fpacious frieze of the depth of the confoles, and under this again the ufual moulded architrave, which is continued down parallel with the jambs. The pilafters are fculptured with a ftring of bunches of natural foliage and fruit in low relief, fpringing from vafes at the bottom, as in the architrave of the gates of Ghiberti. The confoles which crown the piers are richly moulded and carved with foliated work, &c ; and on the front of each, refting on the lower volute or fcroll, is an amorino in full relief of fmall life-fize ; the one on the right is a boy ftanding or riding on a firen, and the oppofite one a girl fimilarly placed on a dolphin. The torfo of the latter figure is exquifitely draped, with a thin ftufF which clings clofe to the form and is admirably arranged in elegant flying folds around it. The frieze is decorated in the centre with a group of two flying amorini in high relief, holding betwixt them a myrtle-wreath, which enclofes the fhield or Jiemma of the family for whom the work was executed. On each fide are life-fized bufts in alto-relievo, refpe&ively of a young man and a young lady, evidently portraits ; they are each framed or inferted into a fluted fhell, flanked with birds' wings and tied with floating ribbon fcrolls. The various architectural mouldings are enriched with the moft delicately-carved leaf-work, firings of pearls, &c. It would be difficult to overrate the exquifite delicacy of execution of every part of the work, its inimitable grace and beauty, and the life- like expreflion of the amorini and portrait bufts. Until very recently this chimney-piece was ftanding, in its original pofition, in thefalotto of an ancient villa near the church of San Lorenzo at San Miniato, under the hill of Arcetri, outfide the gates of Florence. On the occafion of a change of pofTeflion of the houfe, a few years ago, the exiftence of this chimney-piece was nrft made generally known to the artifts and connoifleurs of Florence ; when its exceeding excel- lence and importance, as a work of the pureft Florentine art, caufed it i$th Century. 23 to be examined by moft of the leading fculptors and profefTors of the Academy of Fine Arts at Florence, who feem to have unanimoufiy pronounced it to be the work of Donatello.* The writer, however, is not fully convinced of the certainty of that attribution, and in venturing to fuggeft that it may poflibly be the work of Defiderio da Settignano, he muft ftate that the doubt which ftill exifts in his mind, as to the actual authorfhip of the work, was the refult of a moft careful infpection and comparifon of nearly all the au- thenticated works of Donatello and Defiderio now remaining in the city of Florence, undertaken at the time of the purchafe of the chimney-piece, and renewed on a more recent vifit with the exprefs wilri of clearing up the uncertainty. Apart from the feminine grace and elegance of the type of the heads in this work, different from the energetic naturaliftic character of Donatello's fimilar conceptions, the actual handwork ap- pears to refemble that of Defiderio. A certain indefcribable grand afperity of touch pervades the work of Donatello, who, on the other hand, in the opinion of the writer, feldom achieved the admirable " morbidezza" the perfect imitation of living flefh, which we know to have been the glory of his great pupil, and which it is difficult to believe can ever have been carried further than in the prefent work. Certain ornamental details, too, are fpeciflcally common to thefe and to other works of Defiderio ; the beautiful winged pecten fhells, for inftance, are repeated almoft exactly in the tomb of Carlo Marfuppini in Santa Croce ; and it is not unworthy of remark that Vafari was fo ftruck with the fingular elegance and beauty of execution of this motive that he has fpecially alluded to it in his life of Defiderio. From the general ftyle of the work, it may be held to have been executed fomewhere betwixt a.d. 1440-60. May it not be a joint production of both Donatello and Defiderio working together as mafter and pupil ? The armorial fhield is believed to be that of either the family Boni or Acciaioli, both great Florentine houfes. * A pamphlet refpefting it was publifhed at the time by Signor Filippo MoVfe — " D'un caminetto in pietra ferena del iecolo 15, pofleduto dal Signor D. Pietro Mafi nella fua villa fuburbana a San Leonardo fuori della porta a San Miniato, lettera all' amico. S. P." 24 Italian Sculpture, 7582. fONATELLO, or Defiderio da Settignano (?). Virgin *\ and Child. BafTo-relievo, in pietra Jerena. Height ***&>& 2 feet 1 inch, width 1 foot 2§ inches. (Gigli-Cam- pana Collection.) Within a femicircular-topped panel, a half-length figure of the Virgin, {landing erecl:, fupports with both hands the nude figure of the infant Saviour, feated, as it were, on a flab (in reality the fill or mould- ing which forms the boundary of the relievo). Beneath this compofi- tion is a long horizontal panel containing two flying amorini holding up a wreath. The work is admirably executed in the ufual flat relief, precifely in the manner of the chimney-piece juft defcribed (No. 5896). The marked individualifed expreffion of the heads of both mother and child fuggeft the belief that they are portraits taken directly from life. More- over, there cannot be any doubt that the head of the Madonna was fculptured from the fame model as the beautiful female buft portrait on the chimney-piece. The latter, it is true, reprefents a younger and more beautiful perfonage, but the countenances are unmiftakably fimilar. The difference is one of age only, the chimney-piece buft reprefenting a young lady of twenty, the relievo the fame perfonage as a matron of five-and-thirty or forty. Both the relievo and the chimney-piece are unqueftionably by the fame hand. The habit of introducing portraits of individuals in religious com- pofitions was a common one in the 15th century; indeed the art of portraiture feems in great meafure to have had its origin in this practice ; and fuch is the ftriking individuality of the heads, both in this relievo and in the chimney-piece, that it feems difficult to view them in any other light than as portraits. Were we, on the other hand, to regard them merely as mannered ideal types of fome particular artift, it would add greatly to the difficulty of affigning thefe works to their real author ; it would then be literally necefiary to find fome contem- porary fculptor as great as Donatello and Defiderio (for this parti- cular type is not the ufual one of either of thefe artifts) working, more- over, in direct imitation of their ftyle. It feems, therefore, to the writer reafonable to fuppofe that both chimney-piece and relievo were executed for the fame parties by the fame fculptor, whoever he was, but with fome interval of time betwixt the two works, that in both performances the heads exhibit portraits of the proprietors of the work and their i$th Century. 25 children. The relievo, indeed, which is obvioufly one of the tablets currently executed for purpofes of private devotion, may, with great probability, be fuppofed to have been originally placed in the fame villa at San Miniato from which the chimney-piece was fo recently removed. Whether thefe fculptures are from the hand of Donatello or Defiderio, or fome other contemporary artift, time and further obfervation will probably hereafter determine ; in the mean time, it is fcarcely neceflary to remark, that, with our prefent flender flock of knowledge on the fubject of renaiJTance fculpture in general, it may well be permitted to us to fufpend our judgments, or to reverfe them hereafter, if need be, without hefitation. 3004. iASSO-RELIEVO, in petra Jerena ; an allegorical imperfonation of Prudence. Florentine quattro-cento fculpture. Matter unknown. Height 15 inches, width \o\ inches. A Janus head or buft of three faces, infcribed beneath in large letters, Prudenza. Notice of Donatello. Donato de' Bardi, called Donatello, (born 1383, died 1466.) Mediaeval Chriftian art culminated in Lorenzo Ghiberti, whilft Do- natello commenced and indeed almoft carried to perfection the " new manner," as it was foon expreflively defignated. There is a won- derful approximation in his art to that of Michael Angelo, although he died before the latter was born, and the dictum of Borghini, " either the fpirit of Donatello wrought again in Buonarotti, or the genius of Buonarotti had a pre-exiftence in Donatello,"* feems almoft a verity. Donatello's works were exceedingly numerous ; he was gifted with a facility of production as aftonifhing in its degree as was the greatnefs of his genius, and he never refufed the humbleft commiffion. He was, in fhort, one of thofe truly great artifts whofe productions have become typical reprefentations of an entire fchool and epoch. A ftudy of his authentic works in the prefent col- lection will fhow how altogether different they are from all that * Vafari, vol. iii. p. 269, (ed. Le Monnier.) Florence, 184.8. E 26 Italian Sculpture, had preceded them. Nature, viewed, it may be, in a fomewhat fevere and auftere afpecl: on the one hand, and an earneft love and appre- ciation of antique art on the other, were the fources of his infpira- tion, or at leaft the guiding-lights of his career. Donatello difcarded at the outfet that ideal but fomewhat monotonous elegance of manner which had, as it were, taken the place of Nature with the fculptors of the previous age, and which, it mould be obferved, lafted till the end of the century with the majority of the painters of the fchools of Florence and Siena.* He was an innovator in every fenfe ; the lan- guage or means of expreffion, if it may be fo termed, of his art was enriched by him. To him is indubitably due the invention of that peculiar and moft beautiful method of low or flat relief, which is often, for want of a better name, called the " Donatello ftyle." f The three principal works in this collection are excellent fpecimens of this ftyle of extremely low relief, which may almoft be characterized as painting in marble ; portions, indeed, of the relievo, No. 7629, are little more than drawn or incifed on the flab, with all the admirable energy and fpirit of a pen (ketch. This ftyle, which muft be ftudied and felt but cannot be adequately defcribed, had no prototype in antiquity : with the followers of Donatello down to the end of the century it became a recognized manner, often degenerating into affectation and abfurdity ; but with the great original it was in itfelf a conftant fource of indefcribable charm, whilft for his contemporaries it * The more rapid development of fculpture in the 15th century, as compared with that of painting, is, indeed, fpecially notable in the works of Donatello, which, it mould be borne in mind, were mainly executed during the firft half of the 15th century. The truth, doubtlefs, is that fculpture was the major and painting the minor art. That this was Michael Angelo's eftimate is well known. As refpe&s the a£lual relative progrefs of the two, it is only neceflary to compare the works of Ghiberti and Donatello with thofe of their great contemporaries, Fra Angelico and Benozzo Gozzoli, to mow that the advance of the fculptors in every material quality of art was much greater. There is, indeed, fcarcely any parity of pro- grels to be eftablifhed ; in the delineation of the human figure alone the painters were a century behind the fculptors. Painting was ftill almoft entirely domi- nated by the religious influence j hierarchical reftraints ftill held the more fenfuous art in a pupilage from which the more material and fimpler one had emancipated itfelf. To the painters much more truly than to the fculptors applies the reproach of Vafari : — " Et nafceva tutto quejio che retraendofi efprima-vano fe medefimi, et fe me- defimi aJfomiglia^i^^^^ 7630. Andrea della Robbia. Alto-relievo in enamelled Terra-cotta. \$th and 16th Centuries. 63 ftyle of the written characters of the infcriptions, have rather the afpect of works of the firft than of the fecond half of the 15th century.* They were the principal treafure of the Majolica fe£tion of the Campana Mufeum, having, previous to their acquifition by the Marchefe Campana, for a long feries of years formed part of the decorations of a fountain in a garden near Florence, fuppofed to have been that of the Riccardi family. {See Engravings.) Works ascribed to Andrea della Robbia and to the Period of his Association with Luca. 7630. NDREA DELLA ROBBIA. Full-length group of the Virgin and Child, feated under an arcade or frame- work of fruit and flowers, fupported on a triangular bracket. Entire height 5 feet 3 inches, width 2 feet 9J inches. (Campana Mufeum.) Probably no finer fpecimen is now extant of the early and beft. period of Andrea's work. It is evident, from the fhield of arms in the centre of the triangular bracket, that it was executed for fome member of the Medici family, and was, therefore, a fpecial or commimoned work, and not one of the ufual produces of the botega. The group is entirely in white enamel, which has the foftnefs and luftre of the pureft ftatuary marble ; it is, as ufual, detached on a foft and tranquil blue background, on which a few ftreaked clouds are painted. The encircling wreath and portions of the ornamental bracket, on the con- trary, are enamelled with the moft vivid and brillia'nt colours, proper to the fruit and foliage reprefented. The fharpnefs of execution of every part of the work, and the beauty of the enamel covering, render this a chef-tfceuvre of the art as practifed by the Delia Robbia family. * It will not have efcaped notice, neverthelefs, that Vafari fays it was only to- wards the end of Luca's career that he turned his attention to painting on terra-cotta. The notorious inaccuracy, however, of the famous chronicler, in refpeir. to fimilar ftatements, deprives the objection of any weight ; befides, in other parts of the Life of Luca he alludes to fome fads at variance with the affumption. It is in every re- fpecl more probable that the practice of painting in this vehicle was coeval with Luca's earlieft effays in enamelled fculpture, if not indeed anterior to them, and that in fa6r. the latter application was the remit of early effays as a goldfmith-enameller on metals and as a Majolica painter. 64 Italian Sculpture. It is obvious that every part was moft carefully and minutely finifhed with the chifel, prior to the application of the enamel glaze ; that is to fay, the crude terra-cotta, after it came from the oven, was entirely worked over and elaborated like a carving in marble. It has fortu- nately been preferved with the utmoft care, and is now literally as frefh and as perfect as on the day it was finifhed. This work was one of the principal fpecimens of the mediaeval fculpture collection of the Campana Mufeum. [See Engraving.) 754-7- 'NDREA DELLA ROBBIA, (afcribed to.) Half- length figure of the Virgin with the infant Saviour, within a fhrine or arched border of fruit and flowers. Height 4 feet, width 2 feet 5 inches. This very beautiful and technicaily-perfecl: fpecimen of " Delia Robbia ware " is, in all probability, one of thofe careful works executed by Andrea during the lifetime of Luca, and perhaps in conjunction with him. The fharp, clear, highly-finifhed modelling of the furface, and the fine quality of the enamel glaze, evidently denote it to be an early work. It was until a fhort time ago let into the wall of a houfe in Flo- rence, over an inner or court-yard doorway.* 7702. NDREA DELLA ROBBIA. Small ftatuette, in enamelled terra cotta, of the infant Saviour (landing in the attitude of benediction. Height 1 foot 6 inches. (Prefented by George H. Morland, Efq.) * The municipality of Florence fome time ago wifely eftablifhed a bye-law pro- hibiting the f'ale or deftruftion of any works of Delia Robbia ware, which had been heretofore viiible, from the ftreets or public places of the city, not excepting even thofe on the exteriors of private dwellings. It is much to be wifhed that the fame body had the power or the will to prevent the recklefs and irremediable deterioration of fo many of the noble architectural monuments of their city, now in progrefs under the plea of renovation. i$th and i6tb Centuries. 65 4412. NDREA DELLA ROBBIA. Altar-piece, enamelled in proper colours. Height 6 feet 4 inches, width 5 feet 837 inches. The fubjecl: of this important work reprefents the Adoration of the Magi ; the compofition confifting of upwards of twentyfigures. On the right, the Virgin feated, with St. Jofeph ftanding behind her, holds on her knee the Saviour, who is in the acT: of giving his benediction to one of the Magi, a kneeling figure, drefled in a fimple caflbck ; behind the latter figure and forming the principal group on the left, are two other kings, with a crowd of attendants in the background ; higher up, in the diftance, a troop of foldiers on horfeback - y and at the fummit of the compofition, two beautiful figures of draped angels, hovering in the air, and holding up the guiding-ftar. The background is a varied landfcape with rocks, diftant mountains and buildings. In various parts may be obferved animals and fmall figures, fome of which are painted only ; the ftable, with two oxen in it, is feen on the right, behind the group of the holy family. We may conclude, from the variety and individualized character of nearly all the perfonages on the left of the compofition, that they muft have been executed from the life, and it is very probable that they are portraits of contemporary friends of the donor or of the artift. The bafement or predella, which carries two flanking pilafters ornamented with arabefques, has a frieze of pendant garlands of fruit and foliage ; and at each extremity of it is a Jiemma or fhield of arms. The frieze which furmounts the pilafters is decorated with cherubs' heads and garlands ; but the cornice and lunette, which doubtlefs originally com- pleted the altar, are wanting. The execution of this work is of the moft highly-finiihed defcription ; every part of it, as in moft of the earlier and finer fpecimens, having been carefully finifhed with the chifel and the gouge, before the application of the enamel covering ; the latter is of the fineft quality and moft brilliant tints. It is true that the ftyle and alfo the handiwork of Andrea are clearly perceptible in this relievo ; but there is much alfo which recalls the early and grander manner of Luca, and it is not improbable that it may have been executed in part with his afliftance ; the refemblance to Luca's ftyle is efpecially obvious in the two flying angels in the upper part. The armorial bearings on the predella are thofe of the family K 66 Italian Sculpture. Albizzi of Florence, at the expenfe of fome member of which the work was doubtlefs executed. The original locality of this altar is no longer on record. It was purchafed in Paris in 1857. 5 6 33- NDREA DELLA ROBBIA, (afcribed to.) Circular relievo or cc tondo." Madonna and Child. Diameter 1 foot 9 inches. (Soulages Collection.) The figures are in white enamel, detached on a blue background. The carved and partly gilded wooden frame is of later date than the relievo; being probably of Venetian origin, dating about 1570. 6741. NDREA DELLA ROBBIA. Altar-piece, with its lunette complete. Height 8 feet 6 inches, width 6 feet 6 inches. The fubjecl: is the legend of " La Cintola" or the Virgin, after her AfTumption, giving her girdle to St. Thomas. In the lunette is a half- figure of the Eternal Father. It is, without doubt, the work of Andrea. This work was brought from a church or chapel of the family Canigiani, near Poggio Imperiale, in the environs of Florence. 7614,7615. NDREA DELLA ROBBIA. Two kneeling An- gels. Height 1 feet 8-§- inches. (Gigli-Campana Collection.) Thefe beautiful ftatuettes are of Andrea's beft time, and difplay his molt graceful defign and finifhed execution. They were intended to ftand at each end of the gradino of an altar-piece. i$th and icth Centuries. 67 7417 to 7420. M^2||f UCA or Andrea della Robbia. Four pieces of a femi- iK 8|p3 circular architrave or arch-band. Width of the arch, xLy^z& wnen complete, 9 feet 3 inches, breadth of architrave 9-I inches. This was probably the crowning arch-band of a large altar-piece ; it is of very fimple defign, confifting of a flat band or fafcia with a " bead- and-button"- moulding on the outer edge. Each piece or voujfoir is filled in with a large-winged cherub head ; the ground of the band is white enamel. The heads are unglazed, but the cherubs' wings are in coloured enamels. 5890. NDREA (?) DELLA ROBBIA. Fragment, a co- lofTal head of an aged bearded man, for a figure of the Almighty, probably originally in the upper part of a large altar-piece. Height 1 foot 8 inches. The head itfelf is left in the mat terra-cotta, but portions of the dra- pery indicate that the reft of the work was in coloured enamels. 2555' M^11|S!JCA or Andrea della Robbia. Circular bas-relief plaque. Medallion head of Casfar, enamelled terra- cotta, in white, on blue background. Diameter 1 foot 3 inches. Works of the later Period of Andrea della Robbia, and of his Sons and Followers. 3986. SCRIBED to Andrea or Giovanni (?) della Robbia. Alto-relievo of the Lafl: Supper, enamelled in proper co- lours. Width 5 feet 4 inches, height 1 foot 10 inches. This compofition, which occupies an oblong panel, may, very pro- 63 Italian Sculpture, bably, have been originally placed over the door of a refectory. The heads, hands, and other nude details, are covered with an enamel glaze which approximates to flefh colour ; this tint is obtained, very ingeni- oufly, by merely reducing the thicknefs of the ordinary white enamel, and probably, at the fame time, diminifhing the dofe of tin or white pig- ment in the enamel in thefe portions, which, by allowing the dark reddim tint of the terra-cotta to mow through the glaze, produces the appropriate efredf. or tint alluded to. 7 2 35- "NDREA DELLA ROBBIA (?), or School. Relievo, within an architectural framework. The Angelic Salutation. Height 8 feet, width 4 feet 6 inches. The Angel, with a lily-branch in his hand, kneels before the Virgin, who ftands in a momentary attitude of furprife. In the background is a richly-ornamented bedftead, with two vafes containing lilies ftanding on the cornice. The Almighty, a half-figure iffuing from the clouds, and furrounded by cherubim, is feen in the upper part of the compofition ; the Holy Spirit, in the form of a dove, defcends from His outftretched hands. The framework of this relievo is in every part elaborately orna- mented with arabefques ; two pilafters fupport a femi-circular arch- band, crowned by elegant crefts or acroteria of honeyfuckle ornaments. The pilafters are fupported on a moulded firing courfe or cornice, up- held by two confole brackets. The two principal figures are three- fourths of life-fize, and are in nearly full relief. The entire compofi- tion is covered with a fimple white enamel glaze, and the ancient oil gilding, with which the ornaments and other details were picked out, ftill in great part remains. It is probably a work of Andrea's later period, during the time of his aftbciation with his fons ; circa 1500-20 (?). IO9O. NDREA or Giovanni (?) della Robbia. Statuette, in enamelled terra-cotta, of a female Saint in the habit of a nun of the Dominican order. At her feet a dragon fwallowing up a child. Probably intended for St. Catherine of Siena. Height 1 foot 5 inches. i$th a7id i6.th Centuries. 69 6736. NDREA DELLA ROBBIA, or of his School. Ta- bernacolo, enamelled in varied colours. Height 4 feet 3 inches, width 2 feet. A regular architectural {hrine frontifpiece, with a triangular bracket at bottom, and femicircular pediment at top, richly ornamented with arabefques, cherubim, and fmall figures of angels, &c. is enlivened by coloured enamels ofthemoft brilliant tints : on each fide, pendant from the angles of the cornice, hangs a maffive feftoon of fruit and foliage in natural colours. 1028. NDREA DELLA ROBBIA, or School. Statuette, in round. Height 1 1 f inches. The young St. John the Baptift, kneeling in an attitude of prayer. The head and nude limbs are unglazed, whilft the hair of the head, robe of camels' hair, and the ground on which the figure is kneeling, are enamelled in proper colours. NDREA DELLA ROBBIA, or School. Circular medallion. The Holy Spirit as a dove defcending on fix kneeling ecclefiaftics : furrounded by an architrave or border of the leaves and flowers of the wild rofe. Terra- cotta, enamelled in colours. Diameter of the medallion 1 feet 1 1 inches, width of the architrave yi inches. This is an example of one of the medallions the original destination of which was for infertion into a vaulted roof or ceiling. From the fomewhat rough and iketchy execution, it is evident that it was intended to be feen at a confiderable diftance from the eye. The architrave which now encompafles the medallion was probably not the original border which furrounded it in Jitu. 70 Italian Sculpture, 4235- ELIEVO, in enamelled terra-cotta. A work of the Delia Robbia family (?). Height i6f inches, width 13 inches. St. Jerome kneeling in prayer before a crucifix ; the background a rocky landfcape with various wild animals. The limbs and face of the faint and alfo of the crucifix are unglazed, having been originally painted in diftemper. The reft of the furface of the relievo is enamelled in proper colours ; to all appearance this is a work of the laft quarter of the 15th century. 4677. SCRIBED to Andrea or Giovanni della Robbia ; circa 1520. An amorino feated, playing the bagpipes. Height 1 foot 5 inches. Prefented by His late Royal Highnefs the Prince Confort. 412. HOOL of Andrea della Robbia. Relievo, in a femi- circular-topped panel. A half-figure of the Virgin adoring the infant Saviour, who lies on the ground near her ; in the background is {qqb. the youthful St. John, and three lily-branches growing erect. Terra-cotta, enamelled in white on blue ground. Height 2 feet 2§ inches, width 1 foot 6^- inches. 4065. ELIEVO, in enamelled terra-cotta. A work of the Delia Robbia botega. Height 2 feet 1 inch, width 1 foot 9^ inches. The Angelic Salutation. On the right is the Virgin feated on a throne within an interior of picturefque Florentine architecture \ the ^th and 16th Centuries. 7 1 announcing angel enters from an oppofite doorway. In the upper part of the compofition is feen the Almighty Father defcending, furrounded with cherubim. The faces and other nude details of all the figures are unglazed, whilft all other parts of the relievo are enamelled in their appropriate colours. The mere execution of this relievo is apparently of the later period of the Delia Robbia fabrique ; but the invention and actual modelling of the compofition, in all probability, are of an earlier date and by an independent artift ; it may be merely a can: or reproduction in Delia Robbia ware of a relievo originally executed in marble or bronze. The general afpecl: and ftyle of the compofition appears to recall, in fome degree, the works of the " Maiano " family ; the figure of the announcing angel, in particular, having great refemblance to the fimilar one in marble in the well-known altar-piece by Benedetto da Maiano, in the church of Monte Oliveto, in Naples. 4248. CHOOL of Andrea Delia Robbia; circa 1500-20. Life-fized ftatue of St. Matthew, in enamelled terra- cotta. Height 5 feet 5 inches. 2413, 2414. CHOOL of Andrea della Robbia. Statuettes of St. Stephen and St. Anthony, in terra-cotta, partly glazed with coloured enamels. The heads, hands, &c. are left unglazed. Height of each 2 feet 11 inches. Thefe fpecimens are of the later time, or period of decline, of the Delia Robbia botega ; circa 1520 (?). 45 6 3- IRCULAR medallion. A cc fternma" or coat of arms. Manufactory of the Delia Robbia family. Diameter 3 feet 4 inches. A frame or border of egg-and-tongue moulding enclofes an elegantly- 72 Italian Sculpture. formed fhield ; the blazon azure, a fir-tree on a monticule, fupported on each fide by a lion rampant, all proper 7397- QUARE armorial relievo or ff fternma" in enamelled terra-cotta. Manufactory of the Delia Robbia family; dated 15 12. Height 1 feet \ inch, width 1 foot 2~ inches. Within a moulded border is a fhield, bearing gules, vaire or ; on each fide of it, on the margin, is painted a device of an upright thorn or bramble-ftock, and underneath on a tablet, in bold, well-formed characters, is infcribed, " Simonetto di chorfo dall arena p a . m.d.xii." This tablet was doubtlefs inferted in the wall of the Palazzo Pub- blico or town-hall of fome Tufcan town. It records the year of office, as PodeJia y of the individual above-named. 45 J 7- iQUARE armorial fhield or cc ftemma" in enamelled terra-cotta. Manufactory of the Delia Robbia family. Height 20 inches, width 16 inches. The fhield is enclofed within a moulded frame or architrave. The heraldic charge, azure, a feffe bretefled, between three etoiles of eight points, or. 6863. |CHOOL of the Delia Robbia. Oval relievo, a re- cumbent River-god with an urn. Length 1 foot 7 inches, height 1 foot 3 inches. The ftyle of this very unufual work refembles that of II Tribolo or Pierino da Vinci, and its date is probably towards the middle of the 1 6th century; it is confequently one of the lateft works of the Delia Robbia fchool. SCAIFnt tmn l I I 7720. Geometrical Elevation of the Tribune, or " Cappclla Maggiore^ of Santa Chiara, Florence. Italian Sculpture. 15th and 16th Centuries FLORENTINE SCHOOL. 7720. RIBUNE, or Cappella Maggiore of the conventual church of Santa Chiara, Florence. Originally erected a.d. 1493. The ancient convent of Santa Chiara, in the Via Santa Maria, Borgo Santo Spirito, Florence, was fuppreffed, like fo many others, early in the prefent century ; but a part of the church, comprifing the cappella maggiore or choir and a fmall portion of the nave in front of it, v/as retained as an oratory down to the year 1842. At that period, however, its clofe proximity to the great church of Santo Spirito, and the want of an adequate endowment for the maintenance of the fer- vices, caufed it to be abandoned ; the building was accordingly formally defecrated and converted at once into a fculptor's ftudio. Having be- come the property of a fpeculator, the owner foon turned his attention towards the fale of the various monumental decorations of the edifice. An appeal was, in the firft place, made in a public journal of Florence for its acquifition by the city, as an important public monument ; but this attempt met with no refponfe, and thenceforth every effort was made to difpofe of the decorative fculptures in detail, fortunately with- out fuccefs. Finally, in the winter of i860, the right of removing all fuch portions of the edifice as might be deemed defirable, was acquired for this Mufeum. It was feen at once, that the importance of the work to a collection like the prefent, as a complete fpecimen of Florentine architecture of moft characteriftic ftyle, could fcarcely be overrated. Fortunately the nature of the building admitted of the removal of all the portions efiential to its reconftruction, and accordingly all the afhlar ftone facings of the interior of the edifice, together with the marble L 74 Italian Sculpture, high-altar, have been brought to England ; and it is now purpofed to rebuild the entire work precifely as it originally flood. This work is, probably as a whole, as complete and unaltered as any fimilar edifice now extant in Florence. It will virtually prefent, when re-erected, an excellent fpecimen of the ftyle of the celebrated reviver of architecture in Italy, Filippo Brunellefco ; for, although not actually conftructed by him, (being fuppofed to have been built by his follower, Simone Pollaiuolo, called // Cronaca,)* it is fo entirely coin- cident in every line, form, and detail, with the correfponding parts of Brunellefco's two great churches, Santo Spirito and San Lorenzo, as to be, in effect:, a perfect typical reprefentation of his ftyle. The area of the building is about 18 feet fquare, the height about 37 feet to the fummit of the cupola, which covers it in ; and the marble high- altar, which ftands detached within it, is about 19 feet high by 10 feet wide. The walls and cupola were conftructed in brick, and all the deco- rative details, mouldings, architraves, arch-bands, pilafters, &c. in afh- lar work, of Florentine pietra ferena y wrought with great perfection. Every ftone of this afhlar was carefully difmounted, marked, num- bered, and brought away ; fo that no difficulty will be experienced in re-conftructing the building with abfolute accuracy. The frontif- piece or chancel-arch, which opened out into the church, is femi- circular, having a deep and maffive moulded arch-band fupported on fquare piers or pilafters, fluted and crowned by richly-carved capitals, of the ufual Brunellefco verfion of the Corinthian order. A regular entablature and maffive cornice of many members intervene betwixt the capitals and the arch-band, and are continued all round the interior of the chapel ; the entire order is in fact carried out in each of the three fides, and each of the walls beneath is likewife filled in with a minor blank circular arcade. The frieze, which goes all round the interior, is in glazed terra-cotta — the work doubtlefs of Andrea della Robbia — exhibiting one of the few inftances remaining of the architectural adap- tation of this mode of decorative fculpture. The defign confifts of cherubim, alternating with wreaths or garlands, enclofing the facred monogram and other religious emblems, in coloured enamels on a blue ground. The lunette above the cornice on each of the three fides * Richa, " Notizie Iftoriche delle Chiefe Florentine," vol. ix. page 85, ftates that the church was erected in 1493 : — " Appie dell' altar maggiore giace fepolto fotto lapida di marmo, Iacopo di Ottaviodi Bongianni di Mino, che fabbrico la chiefa neir anno 1493. Veggendovifi 1' arme di fua cafa compofta di due colombe rofle, che bevono ad un calice in campo bianco." i$th and 16th Centuries. 75 is filled in with a fmall femicircular-headed window, with a broad- moulded architrave : and above the fummit of the principal arch-band runs a fecondary cornice, from which rifes a plain hemifpherical cupola. The altar is the original high-altar of the church ; it is known to be the work of the fculptor Leonardo del Taflb, executed probably twenty or thirty years after the completion of the fhell of the building, and was evidently defigned to form part and parcel of the entire compofition of the tribune ; it is thus in perfect keeping with the leading lines of the architecture : — an accordance, of which there are but few in- ftances now remaining in the Italian churches, the high-altars having been generally either replaced by more recent erections of the florid 17th or 1 8th century flyles, or originally defigned of a flyle inde- pendent of that of the edifice. The quadrangular altar itfelf, (land- ing on a fingle ftep, is backed by a lofty reredos of marble, with a femicircular arched top, correfponding with the general arcaded ar- rangement of the interior. A gradino or predella, ornamented at the fides with arabefques, and in the centre with two flying angels hold- ing a chalice, immediately furmounts the altar, and ferves as a dado or pedeflal to the architectural ftructure above. This confifts of a wide border or architrave, grounded in Florentine red marble -, the en- riched moulding, which bounds it, being in Carrara marble. On this ground is detached an arcade or order of fluted Corinthian columns fupporting a wide arch-band, richly fculptured with a continuous garland of foliage and fruit, alfo in white marble. The fummit of the altar is crowned by a pahnette or honeyfuckle ornament. The large centre panel ("fondo" or background) is in black marble (pietra di paragona), and in the centre is inferted the marble tabernacolo^ already defcribed (No. 7720 a) ; this is upheld on each fide by two flying angels, fculptured in high relief in white marble, and thus boldly detached on the black ground, whilfl two other flying boy-angels hold up a crucifix in the upper part, above the pediment of the tabernacolo. Underneath it and {landing on the gradino are two marble flatues, of fmall life-fize, re- cefled in niches in the black marble ground, refpectively reprefenting San Francefco and Santa Chiara.* * Richa, " Chiefe, &c." vol. ix. page 84, notices thefe ftatues and the tribune generally as follows : — " La capella maggiore fta fotto una Tribuna, retta da quattro pilaftri icannellati di Ordine Corintio, con fregio arricchito di Cherubini di terra invetriata della Robbia. Quivi lodano i profeflbri due llatue minori del naturale in marmo di tutto rilievo, pofte full' altare, rapprefentanti S. Francefco, e S. Chiara con quattro angeli, che mettono in mezzo il ciborio, condotti con grazia da Lionardo del Taffo." 76 Italian Sculpture. The exquifite tabernacolo, believed to be the work of Defiderio da Settignano, and probably executed half a century before the reft of the altar, (fee ante, p. 28,) was evidently, as a notable and precious work, removed from its original pofition and adapted as a part of Del TafTo's general defign. The fculptures of this altar are mentioned by Vafari as one of Leonardo del TafTo's principal works.* We have thus a joint work of four great Florentine fculptors ; Defiderio da Settignano, Simone Pollaiuolo, Andrea della Robbia, and Leonardo del Taflb, to whom mould be added, as the Capo jcuola or mafter mind, from whom the original architectural idea eflentially though indirectly proceeded, the ever-memorable Filippo Brunellefco ; and when re-ere£ted, this Mufeum will pofTefs, in it, a ftanding illuftra- tion of the modes of aflbciation of quattro-cento fculpture with archi- tecture, to be feen nowhere elfe out of Italy. (See Wood-engravings which Jhows a geometrical elevation of the entire flruclure.) 7568. LORENTINE quattro-cento fculpture; period and manner of Defiderio da Settignano. Frontifpiece of a tabernacolo, in pietra ferena. Height 5 feet, width 2 feet 1 inch. (Gigli-Campana Collection.) The infcription on a band beneath the door, " Hie ejl locus reli- quiarum" fumciently denotes the deftination of this work. It was evi- dently the frontifpiece of a fmall cupboard in the wall in the facrifty of a church. The Italian terms, " tabernacolo" " ciborio" and fometimes alfo "facrario," are employed to defignate thefe receptacles -, which, though moil frequently intended for the keeping of the confecrated wafers, were evidently, as mown in the prefent example, alfo fometimes def- tined for the cuftody of relics. * Life of Andrea dal Monte Sanfovino, the mafter of Taflb, vol. viii. page 173. See alfo, for information refpe&ing Leonardo del Taflb, note to the Le Monnier Vafari, under life of Benedetto da Maiano, vol. v. page 135, and Nagler " Kunftler Lexicon, 1 ' who alfo fpecifies the Santa Chiara ftatues. According to Bottari, alio, Leonardo flourifhed circa 1550. i$th and 16th Centuries. jj 5888. u RACKET of a tabernacolo. Florentine quattro-cento b fculpture, in pietraferena. Date, fir ft half of the 15th century. Width 1 foot 8 inches, height 1 foot 5 inches. 5886. RACKET of a tabernacolo, in pietra Jerena. Floren- tine fculpture ; circa 1480. Width 1 feet, height 1 foot 8 inches. In the centre of the triangular fpace, which is bounded by two ele- gant cornucopias filled with flowers, is a ftanding amorino in high relief, holding a large lily-branch gracefully thrown over his fhoulders. Un- fortunately it is not poflible to determine the author of this beautiful fragment. 579 6 - RACKET of a tabernacolo, Florentine quattro-cento fculpture in marble. Width 3 feet 3 inches, depth 1 foot 6 inches. Amongft the ornamental motives of this bracket may be noticed the conftantly-recurring cornucopia, combined with rich foliated fcroll- work, a large cherub's head with outftretched wings, and a fhield charged with the well-known " pal/e" of the Medici family, denoting that the work of which it formed a part was due to the munificence of fome member of that noble houfe. 5893- LORENTINE fculpture; circa 1490* Carved and gilded wood frame or fhrine, the frontifpiece of a tabernacolo. Height 4 feet 9 inches, width 3 feet. This elaborate and beautiful decorative work is, doubtlefs, by one of the great Florentine fculptors of the end of the 15th century. It offers a remarkable example of fculpture in relief, treated as though j$ Italian Sculpture. feen in perfpe£tive. The profufion of ornamentation renders it impof- fible to give a detailed defcription. All the details are executed with the moft delicate finifh, whilft, at the fame time, they are fkilfully fubordinated to the architectural defign as a whole. 6738. LORENTINE fculpture ; circa 1490. Chimney- piece, in fietraferena. Width 9 feet 6 inches, height 8 feet 6 inches. The jambs are filled in with arabefque ornaments in bas-relief, and are furmounted by acanthus-leaf confoles, which fupport a deep frieze, decorated in the centre with zjlemma or fhield of arms within an olive- wreath, flanked on each fide with terminal birds or griffins and fcroll foliage. The frieze is crowned by a bold enriched cornice. 5959- AVABO, Vl,/ WA'> lAiX'XlAI^: J^7i^ZLI2ZJ2SttI2J2IP i Hill- ^^^^^s^^ ^^^v-ai^^ <3-=4^=? ^j^gi^J -~*>^ \^jKL>f <^..^ ^„^tej^- ^.^ -ly^-ft? :oEMi^ ivsadEQj-dsas^^ i 6743. Andrea Ferrucci. Tabcrnacoh in Carrara Marbk . i$th and i6t/i Centuries. 89 The lunette is filled in with a half-figure of the Eternal Father in the attitude of benediction ; whilft the frieze is decorated with cheru- bim. The ftyle refembles that of Mino da Fiefole or Andrea Ferrucci. 6 737- J5npmHE Virgin and Child, with Angels. Alto-relievo, in wfe| Eigij Carrara marble. Florentine fculpture ; circa 1480. Mafter unknown. Height 2 feet 8 inches, width 1 foot 1 1 inches. The Virgin, a three-quarter figure, feen down to the knee, is feated on a chair or throne with the infant Saviour {landing in her lap. In the upper part, in the background, are two boy-angels with garlands, fculptured in low relief. The quaint hard ftyle and individualifed types of countenance, feen efpecially in the heads of the infant Saviour and Cherubim, feem to characterize this relievo as the work of a fecond-rate Florentine fculp- tor of the following of Donatello, having confiderable leaning to the ftyle of Mino da Fiefole. It is impomble to miftake the hand of this mafter, which is again ken in the marble next to be defcribed ; and a relievo, almoft identical in defign with the prefent, is now (1862) in the hands of the Florentine dealer, Signor Gagliardi, having been removed from the ftaircafe of a houfe in Florence, where the writer faw it two years ago. The prefent fpecimen came from the Palazzo Albergotti at Arezzo, and formerly belonged to a cardinal of that family. 7562. LTO-RELIEVO, in marble, within a circular-headed panel, by the fame hand as the preceding piece. Height 1 foot 1 1 inches, width 1 foot 2 inches. (Gigli-Campana Collection.) Half-length figure of the Virgin feated in a chair ; the infant Chrift, ftanding on her knee in the act of benediction, holds an apple in his left hand. In the background is a feftoon of leaves. N 9° Italian Sculpture. Notice of Mino da Fiesole and Andrea Ferrucci. INO DA FIESOLE, (born 1400, died 1485,) and Andrea Ferrucci, or Andrea da Fiesole, (born about 1440, died 1520,) both came of a race or clafs of fculptors for which the ancient fuburb of Florence was long celebrated ; thefe men were accuftomed to work the quarries of black ftone in the neighbour- hood of Fiefole, juft as at the prefent time a fchool of artift-work- men has fprung up at the little city of Mafia-Carrara, working the marble from the neighbouring quarries into an infinity of femi-commer- cial productions for exportation to all parts of the world. The quattro- cento Fiefolani, however, were famous as ornamentifts, and their talent in this branch, doubtlefs, rendered the younger and abler of them wel- come afliftants to the great Florentine maejiri in their monumental works. Mino da Fiefole belongs to a fomewhat earlier period than Andrea Ferrucci ; he is in every refpecT: a better known and more fami- liar artift. Vafari ftates that he was a fcholar and imitator of Defiderio da Settignano ; but it is evident from difcrepancies in dates, and the general vaguenefs and uncertainty of all his fadts concerning both artifts, that little or no dependence can be placed on this aflertion ; if born in 1400, indeed, as Vafari ftates, Mino muft have been an older man than his fuppofed mafter ; the prefent collection, unfortunately, does not contain any fpecimen which could be afcribed with abfolute certainty to Mino. With refpecl: to Andrea Ferrucci, Vafari, who was evidently in- clined to hold in little efteem the femi-induftrial art of the Fiefulan fchool, accords to him lefs than the ufual praife. Cicognara, on the other hand, places Andrea on a higher level than even his country- man Mino.* The honourable and refponfible pofts accorded to An- drea by the magiftrates of Florence, however, fufficiently indicate that he was confidered one of the moft eminent maejiri of his time. He was a fkilful architect as well as a fculptor, and, like fo many Florentines, exercifed his art in various parts of Italy, notably in Naples. * Storia della Scultura, vol. iv. p. 471. " Ma fe quefto Mino fu eccellente fcul- tore, lo fu ben piu famofo ancora e diftinto Andrea Ferrucci, per quanto fia del Vafari reputato fra g\" ingegni mediocri.' 1 05 i$th and 16th Centuries. 91 Principal existing Works of Mino da Fiesole. LORENCE. Santa Croce, in the chapel called " della Novi- ziata," marble tabernacolo. Convent of Sto. Ambruogio. Marble taber- nacolo for relics. La Badia. Marble relievo of the Virgin and Child. Circular relievo, Virgin and Child (over the entrance-door). Tomb of Bernardo de' Giugni. Tomb of Conte Ugo. (The principal work of Mino, executed 1481.) Gallery oftheUmzj. Marble buft of Piero de' Medici. Fiesole. In the Duomo. Tomb of the Bifhop Leonardo Salutati, Marble altar-piece. Marble buft of Rinaldo da Luna, (dated 1461.) Prato. Portions of the marble pulpit in the cathedral (two relievi reprefenting the ftory of San Giovanni, 1473). Volterra. Marble tabernacolo in the cathedral. Perugia. Church of St. Piero. Marble altar-piece in the chapel of the Sacrament. Rome. In the church of Santa Maria fopra Minerva. Monument of Francifco Tornabuoni. — : In the church of Sta. Maria in Traftevere. Marble taber- nacolo. Principal Works of Andrea Ferrucci now extant. y[ = 5S|\iyTSTOIA. Marble chapel and baptifmal font in the church of San Iacopo. iS Fiesole. Marble altar-piece in the Duomo. Florence. Statue of St. Andrew and buft of Marfilio Ficino in the Duomo. Wooden crucifix in the church of Sta. Felicita. 5895. ANTORIA, or ringing-gallery, of the conventual church of Santa Maria Novella, Florence. The work of Baccio d' Agnolo ; circa 1490-1500. In white marble. Length 16 feet, height 7 feet 6 inches, projection from the wall 5 feet. 92 Italian Sculpture. This gallery is an elaborate architectural ftruclure, forming an oblong rectangular projecting balcony, fupported on four maflive brackets, or trufles, and crowned by a bold cornice. The front is divided into three fquare funk panels by upright pilafters, four in number, in each of which is a pendant firing of trophies of arms and arabefques. A panel, fimilar to thofe in front, fills each end of the gallery. The decoration of thefe panels confifts of large fhields of the fhape ufually called a " tejia di cavallo" furrounded with finely-executed wreaths of foliage, arabefques, foliated fcroll-work, &c. The devices on them are the various arms or imprefi of the Florentine republic, viz. (on the fhield at the end, left hand), a bend, with the motto " Libertas " cut in relief, (in front, the firft on the left,) a richly foliated Florentine giglio or fleur-de-lys ; (in centre) a St. George's crofs ; (on the right) a fpread-eagle ftanding on a dragon ; and (in the end compartment on the right) a device of three flowering lily-branches tied together by a label-fcroll. The brackets are ornamented with large acanthus-leaves and beautiful arabefque fcroll-work, whilft a fyftem of elaborately- carved mouldings furrounds them in the upper part, at their juncture with the body of the gallery. The under fide of the cantor ia, be- twixt the brackets, is ornamented with funk moulded coffers, each containing a large rofette carved in very high relief, and the lining of the wall, at the back, is filled in with three circular medallions, in the fame marble as the reft of the work, detached on a ground of black ftone or pietra paragona. The medallion in the centre bears a cherub's face furrounded with flaming rays, and each of the two fide ones contains the monogram "OP A," which is that of the opera or operai di Santa Maria del Fiore^ the "board of works" of the ancient re- public ; indicating that the gallery was executed by the orders and at the coft of the State. This work was the organ-gallery of the church of Santa Maria Novella, and was originally placed in the choir at about the fame height from the ground as at prefent. Marble finging-galleries of this type are ftill to be found in their original pofitions in many Italian churches. One of the moft beautiful and moft familiar to travellers is that in the Siftine chapel in Rome ; and whoever has heard the fublime miferere^ or the Chriftmas-Eve fervices, fung from it, will have doubtlefs re- tained a vivid impreflion of the deftination of fuch works as the pre- fent. The two feries of relievos by Donatello and Luca della Robbia, previoufly mentioned in this catalogue, viz. the dancing-children and the finging-boys of the gallery of the Uffizj, were originally the frontals of two galleries of fimilar conftruction to the prefent. i$th and 16th Centuries. 93 The removal of this work, at the prefent day, from fo renowned an edifice as the church of Santa Maria Novella, mould perhaps be explained, both becaufe the fact itfelf is much to be regretted, and alfo in vindica- tion of the action of this Mufeum in making the acquifition. The monks of Santa Maria Novella are a wealthy confraternity, one of their principal fources of revenue being the celebrated fpexieria^ or eftablifhment for the fale of drugs, which they have maintained in great efficiency from time immemorial. The prefent head of this por- tion of their eftablifhment, Fra Damiano Beni, a wealthy ecclefiaftic, in the year 1859 feems to have conceived the project of devoting his fortune to the renovation of the interior of the church, a tafk which, with the confent of the grand-ducal government, was in confequence entrufted to the architect Signor Cavaliere Enrico Romoli. The body of the church is a vaft ftructure, originally erected in the 13th cen- tury ; but in the courfe of ages the interior had become literally encrufted with additions of every date and period, which, never- thelefs, greatly added to the intereft of the edifice viewed as illuf- trating the hiftory of art and archaeology. The moft important alterations had been made by the celebrated Giorgio Vafari, who, towards the middle of the 16th century, remodelled the nave, and in particular erected a feries of very elaborate carved wooden altar-pieces in each of the fide aifles. This feries, taken in con- nection with the reft of his additions, formed one of Vafari's moft important works as an architect ; and, even had they been works of far lefs merit, they would feem to have deferved careful confideration at the hands of the inhabitants of that city, whofe ancient glories Giorgio Vafari perhaps did more to illuftrate and commemorate than any other man. There was, however, fcarcely any part of the inner furface of this church which had not a fpecial intereft of fome kind or other ; all its well-known details had not only become endeared to the inhabi- tants of Florence, but were alfo Angularly interefting to ftrangers. Unfor- tunately, the effect of Fra Damiano Beni's miftaken liberality has been to fweep the greater part of thefe away ; a tabula raja was literally made of the whole of the interior, and a feries of " reftauri ed innova- •Lioni" as they are complacently termed in a pamphlet juft ifTued, was forthwith commenced. The idea of the architect was nothing lefs than to remodel the whole of the interior in the ftyle of the 13th century, and amongft the decorative conftructions condemned as incompatible with this defign, was the prefent beautiful cantoria, which accordingly was pulled down and fold, for lefs than the value of the marble, to Signor Freppa, a Florentine dealer. The ill-judged nature of all the 94 Italian Sculpture proceedings will be feen from the following facts, amongft many others. Firft, as regards the altar-pieces by Giorgio Vafari ; thefe were elaborate architectural ftructures forming the fhrine-work or framings of a feries of large oil pictures, nearly all by Florentine artifts of the middle of the 16th century, fo that both the pictures and their framing were perfectly in keeping with each other ; neverthe- lefs, incredible as it may feem, thefe altars were difmantled and re- erected at a great expenfe in ftone, in a pfeudo-Gothic ftyle, fuppofed to be in the original character of the church, the large fquare pictures being again inferted in them. The refult, as might be expected, has been an incongruous medley, the fhape and proportions of the pictures, and their ftyle of art, being as completely out of character with the new erections as they were in keeping with their original furroundings. The treatment of the cantoria^ however, was ftill worfe ; although a fubftantial ftructure, in every refpect convenient and indifpenfable, as before, for the daily fervices of the church, and known to be an im- portant and authentic work of one of the greateft of the Florentine fculptor-architects of the revival, the fingle fact of its being of a later time than the church was the caufe of its difmiflal. It was accordingly difplacedj and a new one of precifely the fame dimenfions and very fimilar appearance, with the important exception that all the graceful and beautiful details of the original were replaced by cold and lifelefs imitations of the ornamentation of the 13th century, was executed at a great coit in ordinary Florentine black ftone ; the original being in white marble. The writer, on his arrival in Florence in March, 1859, having been informed of thefe proceedings, obtained admiflion to the church, and fucceeded in purchafing the cantoria for the Mufeum as it lay dis- jointed on the pavement. The fpecial vocation of Baccio d' Agnolo (born 1460, died 1543) was that of an architect and ornamentift fculptor. His works are to be feen in the many palaces and villas which he erected in Florence and the environs. One of them, the Palazzo Bartolini, now the Hotel du Nord, in the Piazza Sta. Trinita, from its elegant and characteristic ftyle, and confpicuous pofition, will probably be familiar to moft tra- vellers. Vafari alludes to his having executed the ornaments of the organ at Sta. Maria Novella ; and, as he mentions the work in the be- ginning of the life of Baccio, it is to be prefumed that it was executed early in his career, i.e. before the end of the 15th century. [See En- graving.) Obfervations on various Minor Works of Florentine Quattro-cento and Early Cinque-cento Sculpture. HE fculptors of Florence gave to the world, and particu- larly to their own fellow-citizens, an infinite variety of works of a trivial or occafional nature only, the majority of which have long fince perifhed ; in fome cafes, in- deed, leaving not a veftige behind of modes of art fol- lowed for long periods by entire families of artifts. It is, therefore, in the pages of the earlier writers on art and local chroniclers, that in- formation on a multitude of minor arts and palling fafhions, often the vehicles for the molt exquifite productions of genius, is mainly to be fought. The love of art innate in the Florentine people, their clannifh attachment to old family ufages, and their habits of hoarding relics of the paft, have neverthelefs preferved to us a greater number and variety of the lefTer productions of early art, than are perhaps to be found in any other city. Florence is ftill, therefore, a mine of wealth to the ftudent, whofe refearches, fyftematically continued on the fpot, will yet be rewarded by moft interefting and often practically important dis- coveries. The palaces of the city and the country villas, with which the beautiful environs are ftudded over, ftill doubtlefs contain, in their lumber-rooms and half-furnifhed faloons, many works of great intrinfic and hiftorical value ; — cafts, models, fragments and disjointed details of an infinite variety of decorative productions may be there, the precious and often moft fuggeftive labours of the greateft artifts of the modern world, which having delighted their own age, now, like the buried relics of clamcal antiquity, call to us to lofe no time in refcuing their laft veftiges from oblivion. It is on the occafion of 96 Italian Sculpture, the fale or renovation of thefe ancient houfes, and of the palaces within the city itfelf, that fuch works, ftill from day to day, fall into the hands of the "fenfali" or tribe of fmall dealers who conftitute a complete clafs of the population. The minor works of fculpture of molt frequent occurrence in Florence are, in the firft place, — Portrait bufts in terra-cotta, and fimilar bufts of faints, generally of San Giovanni (the patron faint of the city), and bufts of our Saviour. Thefe conftitute of themfelves an entire clafs ; of the portrait bufts this collection contains feveral admirable fpecimens, (fee Nos. 7588 to 4906, &c.) The fafhion for thefe feems to have come into vogue fhortly before the middle of the 15th century; doubtlefs it was greatly the refult of that enthufiaftic imitation of antiquity, which was the main-fpring of the revival of art at this period. It is poflible, in- deed, that in thefe bufts we have the moft perfect reproductions of the imagines or anceftral effigies of the ancient Romans. A precifely fimi- lar feeling feems to have prompted their production in both epochs ; at all events we have in them fome of the very earlieft portraits of modern times, and the great citizens of the republic, the friends and companions of Cofimo and Lorenzo, ftill live in thefe ftriking prefer- ments. Vafari records of Verrocchio * that he was among the firft who executed portraits of this kind, and in particular who pra£tifed the art of taking plafter cafts from the faces of dead perfons ; and it fhould be obferved that many of thefe bufts {how evident traces of having been directly bafed on cafts fo taken, the features being afterwards fkilfully retouched and literally enlivened in the ductile clay, evidently by fculptors of great talent. Nearly all feem to have been painted in exact imitation of life. The fame artifts doubtlefs alfo produced the waxwork portraits (voti) fo frequently prefented to churches and fhrines as thank-offerings, or in remembrance of eminent perfons deceafed. Vafari even records the name of one of thefe artifts, Orfino, ceraiuolo or waxwork figure-maker, and in alluding to his works evidently counts him as an artift of talent, worthy to rank with fuch men as Verrocchio, with whom indeed he was in intimate alliance. The cuftom of depofiting waxwork and wooden images of dead * Vol. v. p. 152. " Dopo, fi comincio al tempo fuo a formare le tefte di coloro che morivano, con poca fpefa 5 onde fi vede in ogni cafa di Firenze, fopra i cammini, ufci, fineftre e cornicioni, infiniti di detti ritratti, tanto ben fatti e naturali, che paiono vivi. E da detto tempo in qua, fi e feguitato e feguita il detto ufo, che a noi e itato di gran commodita per avere i ritratti di molti, che ii fono pofti nelle ftorie del palazzo del Duca Cofimo. E di quefto fi deve certo aver grandiflimo obligo alia virtu d'An- drea, che fu de' primi che cominciafle a metterlo in ufo." i$tb and lbth Centuries. 97 perfons in churches and other localities was an almoft univerfal one in the middle ages, and down even to a comparatively recent period. It is perhaps not generally known, that, within the laft few years, a number of effigies of this defcription were preferved in Weftminfter Abbey, and pombly are there now. * The numerous bufts and fmall ftatuettes of St. John the Baptift, (" San Giovannino,") as they were in conftant demand, were current objects of production with even the greater! fculptors of the day. Even here, however, an interefting cuftom may be traced ; it evidently be- came a received habit to reproduce the beautiful faces of the young boys of the Florentine families in thefe facred images, (fee Nos. 7545, &c. in this Collection,) and an admirable example of this nature may be feen in Donatello's beautiful marble buft of St. John, in the Cafa Mar- telli, which was a portrait of the fon of the artift's patron and benefactor Roberto Martelli. The bufts of our Saviour, alfo fo numerous, are perhaps generally of a rather more recent date, and one occafion of their becoming un- ufually popular is known and is extremely interefting. f Another clafs of objects of fculpture, of a cheap and popular kind, yet remains to be alluded to, viz. that of the numerous bas-reliefs of the Virgin and Child and other religious fubjects in plafter, gejfo-duro y or ftucco, executed as aids to private devotion. Thefe were fimply cafts * The waxen image of Frederick the Great, drefled in the clothes he wore when alive, and furrounded with all his familiar objects of life, ftill preferved in the Mufeum at Berlin, is another example which occurs to the author. f During the popular exaltation which reigned immediately previous to the fiege of Florence (in 1528) the Council of the reftored republic folemnly proclaimed our Saviour Chrift, Prince and Protector of the Florentine State ; and in the devotional frenzy which enfued, every proprietor of a houfe haftened to procure a buft or image of our Saviour, which he placed over the door or in fome other confpicuous pofition. The artifts of the city outvied each other in the production of thefe images, and even to this day, bufts of thrift may be feen on more than one ancient Florentine houfe. Napier, (" Florentine Hilton-,'") fays, that " Niccolo Capponi when he was Gonfa- loniere (1527), in order to conciliate the " Fratefchi," whole great prophet (Fra Bar- tolommeo da Faenza) had recommended it, propofed that Jefus Chrift fhould be elected King of Florence." See alfo Segni, lib. i. p. 69 : — " Pero ottenne prima nella fegreta pratica, e di poi nel Configlio Grande una provvifione, nella quale il popolo Fioren- tino con folenni giuri, e col partito s' elelfe Crifto Figliuol di Dio per fuo Re, e cofi fu fcritto fopra la porta del Palazzo, — Jesus Christus Rex Florentine Populi S.P. Decreto electus. Imitando in cio un' azionedi Fra Girolamo Savonarola, che in una fua predica tenuto in gran fervore, fece gridare a tutto il popolo, Crifto per Re del popolo Fiorentino, ad eleggerlo per fuo fignore particolarmente." Varchi, lib. v. p. 53, tells us that Capponi was influenced " o perfuafo dai frati di S. Marco co' quali egii fi tratteneva molto, o piuttofto per guadagnarfi la parte fratefca, la quale non era pic- cola ne di poca riputazione. ,, See alio Pitti, lib. ii p. 152 ; Cambi, torn xxiii. pp. 5-1 1 j Nardi, lib. viii. p. 34.0 ; Nerli, lib. viii. pp. 169, 705 Sifmondi, vol. xii. p. 14. O 9 8 Italian Sculpture. from famous originals in marble, terra-cotta, bronze, &c. hardened by- various methods, and almoft invariably brilliantly painted in proper colours. Thefe works, though certainly lefs important than the ori- ginal relievos, have now a far greater relative value than at nrft, becaufe the greater number of the originals from which they were taken have perifhed. Many of thefe relievos, moreover, were ob- vioufly retouched by their authors, being in fa£r. originally iffued by them as a fpecies of cheap edition of their works. Nos. 5767, 5768, and 7622 are good examples of this kind; in No. 5767 the ancient rather gaudy painting in diftemper is preferved. With refpe£t to the colouring of fculpture, which was fo freely and extenfively pra£tifed in the 15th and 16th centuries, notably by the Florentine artifts, it feems certain that almoft every work in terra-cotta or gejffb was fo em- bellifhed ; indeed the natural furface of terra-cotta was evidently deemed by them infufferably crude and unfeemly, tolerable only in the mereft artift's fketches, preferved in ftudios or the cabinets of the curious. With refpecSt. to the mode or ftyle of applying colours — this in our own day vexed queftion — was by no means a difficulty with the quattro- centifki, and the timid tentative effays of modern fculptors would never have fatisned the fimple and more pofitive taftes of former times. Statues and relievos were in fact habitually painted with the fame bril- liant and decifive colouring as contemporaneous diftemper pictures ; draperies and backgrounds, even in works of the very loweft relief, being grounded in unbroken mafTes of pure colour, which at nrft fight feems utterly barbarous, but which the eye foon accuftoms itfelf to, and learns even to enjoy as a relief from the coldnefs and poverty of afpecl: of the crude vehicle. Even marbles were often brilliantly coloured, whilft relievo fubje£ts, in every material, were as a rule almoft always picked out with gilding. It is to be obferved, however, in reference to this queftion, that fome allowance fhould perhaps be made for the fad* that all works in relief, from the pre- valence of brilliant funlight in Italy, were habitually feen under more favourable conditions than in this country, the crudity of the fuperadded colours being modified and dominated by the force of light and fhade of the relievo itfelf, to a degree feldom feen in the difTufed and colder light of more northern latitudes. With refpecl to the coloured works in extremely low relief, in which, when viewed in a difTufed light, fcarcely anything but crude patches of colour could have been vifible, it may be obferved that fuch productions were moft fre- quently fufpended in dark corridors, &c. with a votive lamp conftantly burning directly under them, the light from which, illuminating them \$th and ibth Centuries. 99 at an acute angle from beneath, gave furprifingly forcible and truthful effects of light and (hade to what, under other conditions of lighting, would have been little better than mere blank furfaces. 7588. pS§IFE-SIZED Florentine terra- cotta portrait buft. Quat- iflfii tro-cento period. Sculptor unknown. Height 1 foot ^=-"'^®' 8|- inches. (Gigli-Campana Collection.) A very aged man wearing a cap with long falling folds of cloth or lappets, a fafhion of coftume to be feen in many Florentine frefco pic- tures, dating towards the middle of the 15th century. It was probably originally moulded on a caft of the head taken after death. It was ob- tained, together with No. 7587, from the Capponi villa at San Fre- diano, where it was preferved in the library, and is moft likely the por- trait of fome one of that family. 4906. |1l|f IFE-SIZED Florentine terra-cotta buft. Qv, at tro- cento period. Height 1 foot 8 inches. An aged bald-headed man, clad in a fimple jerkin or doublet fitting tight round the throat ; probably, like the preceding fpecimen, bafed on a caft taken after death. 7621. LORENTINE terra-cotta portrait buft. Quattro- cento period. Height 1 foot 1 1 inches. (Gigli-Cam- pana Collection.) This ftriking and life-like buft reprefents a middle-aged man of a fhrewd, intelligent expreffion, wearing the ufual tight-fitting doublet, and a felt-cap or beretta. There can be little doubt that it was modelled directly from the life; it is juft fuch a work as may have proceeded from the hand of Andrea Verrocchio. There are, however, not fufficient indications of individual ftyle to enable it to be afcribed to any particular mailer. This buft, like the others, has originally been carefully painted to imi- tate nature. ioo Italian Sculpture. 4599- IFE-SIZED Florentine terra-cotta buft. ^uattro-cento period. Height i foot 10 inches. A monk, faid to be the celebrated Dominican friar, Girolamo Sa- vonarola. To the many portraits of Savonarola, in contemporary medals, gems, and pictures, this terra-cotta, apparently taken from life, may with good reafon be added. The various portraits alluded to, all executed either during his lifetime or fhortly after his execution (1498), differ very confiderably from each other. The prefent buft, at all events, has much refemblance to the medal by Andrea della Robbia. 7587. LORENTINE terra-cotta portrait buft. Circa 1 500-20. Height 1 foot 10 inches. (Gigli-Campana Collec- tion.) This buft is of rather more recent date than the majority of the fimilar terra-cottas. From the coftume and general ftyle of the work it muft be referred to the firft quarter of the 16th century. It was ap- parently modelled from the life and reprefents a young man with fhort beard, whifkers, and mouftache, wearing a loofe doublet or cafTock and a flat felt-cap. It was obtained by Signor Gigli from the library of the Signori Cap poni at San Frediano, and probably reprefents fome member of that an- cient family. 7589. ISjflFE-SIZED terra-cotta portrait buft of a man wearing a broad-brimmed hat or cap. Florentine fculpture ; circa 1520. Height 1 foot 9^ inches. (Gigli-Cam- t;-?S pana Collection.) Stated (it is not known on what authority) to be a portrait of " Mi- chele de Lando." \$th and 16th Centuries. 01 7580, 7581. WO life-fized terra-cotta bufts. Florentine fculpture ; circa 1500. Height 1 foot 10 inches. (Gigli-Cam- pana Collection.) Signor Migliarini afcribed thefe heads to Giovanni Gondii, il cieco da Gambafli, (1610-1665 ;) they are, however, apparently a hundred years earlier in date than his time, and have more of the manner of the later Delia Robbias ; they are probably intended as heads of the fhepherds, fuch as would have been introduced in a large altar-piece of the prefepio or adoration. 4600. ERRA-COTTA butt, (larger than life,) an ideal head of an aged man. Florentine fculpture ; circa 1 500. Height 1 foot 8 inches. The auftere character and expreffion of this head are very ftriking. It is poffible that it may have been intended for a St. Jerome in peni- tence. There is no clue to the author ; the character and general expreffion of the head ftrongly refemble fimilar imperfonations in defigns of Leonardo da Vinci. 1085. LORENTINE terra-cotta buft of St. John the Baptift, (San Giovanni,) fmall life-fize. Period of Donatello. Height 1 foot 7 inches. The emaciated features, expreffion, and general ftyle of this buft fhow an evident ftudy of the famous wooden ftatue of the Magdalen by Donatello in the baptiftery of San Giovanni. It is by a hand fcarcely inferior in power to that of the great mafter himfelf. 6819. LORENTINE terra-cotta buft of San Giovanni. Period of Donatello. Height 1 foot 6 inches. 102 Italian Sculpture, 4496. IFE-SIZED Florentine terra-cotta buft of the infant St. John (" San Giovannino ") ; 1 5th century. Sculp- tor unknown. Height 10 inches. This coarfely-executed but life-like buft was probably moulded di- rectly from nature : repetitions of it exift. The ancient wooden bafe or pedeftal, which ftill remains, illuftrates the fimple yet appropriate ftyle in which thefe terra-cottas were originally mounted. The fami- liar diminutive " San Giovannino," applied by the Florentines to all thefe youthful bufts of their favourite faint, is particularly appropriate to this childlike fpecimen. 7545- FLORENTINE terra-cotta buft of San Giovanni. J Small life-fize. Quattro-cento period. Height 1 foot 4 inches. Apparently a portrait of fome handfome Florentine youth. 4485. IFE-SIZED Florentine terra-cotta buft of a boy or young man of fourteen or fifteen years old. Pro- bably a San Giovanni. Date circa 1490. Height 20 inches. 4497- IMILAR life-fized Florentine terra-cotta portrait buft of a young man, but probably intended for a San Gio- vanni ; circa 1490. Height 16 inches. 7584. IFE-SIZED terra-cotta buft of Chrift. Florentine fculpture; circa 1528 (?). Height 1 foot 8 inches. (Gigli-Campana Collection.) i$th and 16th Centuries. 103 This is perhaps one of the bufts executed previous to the liege, under the revived republic. (See notice, ante, p. 97.) 6862. SKIFE- SIZED Florentine terra-cotta buft of our Sa- viour; circa 1500-30 (?). Height 1 foot 8 inches. With fome reminifcences of Andrea Verrocchio's popular Floren tine type, this burr, is, neverthelefs, apparently the work of a weaker and later hand than his. 7 2 45< IFE-SIZED marble bull: of Chrifr., with a wreath of corn-ears round the head. Cinque-cento fculpture. Height 1 foot 1 inch. This buft, which was probably fculptured duringthe firft quarter of the 1 6th century, has been afcribed to Baccio Bandinelli, and it is not im- probably an early work of his, fculptured from a block of marble of a fize fomewhat inadequate to the proportions of the head. 7602, 7402. WO Florentine terra-cotta ftatuettes of David, by the fame unknown matter; circa 1490. In No. 7602 (from the Gigli-Campana Collection), the victorious hero, habited in a richly-ornamented cuirafs, ftands in a graceful atti- tude with the head of the giant on the ground beneath his feet ; in his right hand he grafps the falchion with which he has fevered the head of Goliath, and in the other, which refts on his hip, he holds a ftone. The height of this ftatuette is 19 inches. No 7402 is fubftantially the fame figure ; it is, however, confider- ably fmaller (its height is 17 inches), and it is different in feveral par- ticulars. The head, in the firft place, is in a different movement, and the features are varied ; the left leg is fomewhat raifed and the knee bent, the foot refting on the head of Goliath, which is again altogether different from that of the preceding work. The torfo and arms of the figure are, on the contrary, exactly fimilar, although proportionately io4 Italian Sculpture. reduced in fcale. It is very interefting to mark the procefs which has been followed in the production of the fmaller replica. The rich ara- befque ornaments of the cuirafs, which are fubftantially identical in both works, prove that the artift availed himfelf of a well-known natural law in the reduction of the firft ftatuette to fmaller dimenfions. He ob- vioufly made a mould from it, and in the mould formed his fecond figure in the moift clay, making all the various alterations, already alluded to, during the procefs of finifhing up the work. Now it is a well-known property of clay to contract when fired, the diminution, in ordinary terra-cottas of this kind, being as much as one-fixth or one-feventh of the entire bulk, (about the proportion in the prefent inftance,) fo that when the clay model, firft carefully dried in the fun, was ultimately baked in the furnace, a confiderable and exactly proportionate diminution in every part took place, the height alone of the prefent figure being re- duced, as we fee, from 19 to 17 inches.* The fculptor of thefe ftatuettes feems to have had a fpecialty for works in terra-cotta on a fmall fcale ; the group next to be defcribed and the fmall buft of San Giovanni (No. 7616) are evidently from his hand, and the writer has noticed elfewhere, at different times, feveral fimilar productions. There is a certain refemblance in the graceful defign and fentiment of his ftatuettes to the works (in painting) of Lorenzo da Credi. The fame fomewhat feminine elegance of type of the heads, and pure and candid expreffion, fo noticeable in the ad- mirable pictures and drawings of that great artift, feem very perceptible. It is needlefs to obferve that there is nothing extraordinary in the works of an eminent painter, in this great age, influencing the contemporary productions of minor artifts in the fifter vehicle. The remains of the original painting are ftill perceptible on thefe ftatuettes. * It may not be generally known, that this was the procefs followed in the reduc- tion of the Wedgwood-ware relievos. The fame cameo relievos, precifely identical in deiign, are found of a great variety of fizcs,- figures, originally modelled four or five inches high, being often brought down, through a great number of intermediate fizes, to one inch or even lefs, for, of courfe, there is no limit to this procefs of fyftematic reduction by moulding and remoulding. i$tb and ibth Centuries. 105 4230. LORENTINE terra-cotta group of three Tinging Angels. By the fame hand as the preceding fta- tuettes; circa 1490. Width of the group 14 inches, height 12 inches. Three draped angels, kneeling on clouds, hold in their hands a label-fcroll, fuppofed to contain the mufical notes from which they are finging. The beautiful heads, full of religious fentiment, and the truthful attitudes of thefe figures, are at variance with the coarfe execution of the draperies, hands, &c. It is probable that this terra- cotta, like No. 7402, was a repetition of fome other original model, the heads being taftefully retouched by the mafter himfelf, whilft the execution of the reft of the group was entrufted to an inferior hand. It was originally painted, and moft likely formed part of a compofition of the Nativity, being the group of angels conventionally placed in the upper part of the compofition, finging the Gloria in excel/is. 7616. LORENTINE terra-cotta buft of St. John the Baptift. Quattro-cento fculpture, by the fame hand as the three previous fpecimens. Height 7^ inches. (Gigli-Cam- pana Collection.) An unufually diminutive example of the numerous Florentine bufts of San Giovanni. It is interefting, moreover, from its retaining its original wooden pedeftal. 7 6 54- LORENTINE terra-cotta ftatuette of St. Sebaftian ; circa 1490. Height 1 feet 7 inches. The faint is reprefented as a young man, in antique Roman coftume with a richly-ornamented cuirafs ; he is, as ufual, bound to the trunk of a tree, the right arm tied behind him, the left raifed over his head and tied to a branch of the tree. The remains of the original painting are vifible. p io6 Italian Sculpture, 7604. LORENTINE terra-cotta ftatuette. £>uattro-cento period. Height 2 feet 3 inches. (Gigli-Campana Collection.) St. Catherine holding in her hand a wheel, (the emblem of her mar- tyrdom.) 7618. LORENTINE terra-cotta ftatuette. Quattro- cento period. Height 2 feet 4 inches. (Gigli-Campana Col- lection.) Saint Sebaftian, a nude figure, bound to the trunk of a tree. This and the preceding ftatuette may perhaps be by the fame hand. They were both originally painted in proper colours. 7575- LORENTINE terra-cotta ftatuette. Quattro-cento period. Height 1 foot 9 inches. (Gigli-Campana Collection.) The young St. John the Baptift feated on a rock. 7 6 5 8. LORENTINE terra-cotta ftatuette; circa 1 500-20 (?). Height 2 feet 1 inch. Standing draped figure of a female faint. 75 8 3- yJjlLORENTINE terra-cotta ftatuette. Quattro-cento pM period. Height 1 foot 8 inches. (Gigli-Campana m^M. Collection.) A kneeling figure of St. John the Baptift. i$th and 16th Centuries. 107 74°3- iT. JOHN the Evangelift, standing in an attitude of grief. Statuette, in terra-cotta. Florentine fculpture ; circa 1500. Height 16 inches. This ftatuette of St. John, together with a correfponding one of the Virgin, appears originally to have accompanied a rood or crucifix. The upturned face of the Saint, expremve of the acuteft forrow, indi- cates that he is contemplating the agony of the Saviour on the crofs. It has every appearance of being an original model, and the remains of colour on the drapery ihow that it was formerly painted in proper colours. 7395- ASSO-RELIEVO,in terra-cotta; panel with arched top. The crucifixion or rood, with the Virgin and St. John. Florentine fculpture; circa 1490. Height i6|- inches, width 1 1 inches. Doubtlefs a caft or " fqueeze" of an oft-repeated compofition, by an excellent quattro-cento mafter. 5767. ASSO-RELIEVO, in ftucco, painted. The Virgin and Child. Florentine quattro-cento fculpture. Height 2 feet if inches, width 1 foot 4 inches. The original diftemper painting ftill remains in tolerably perfect prefervation, and will fuffice to give an idea of the manner in which fo many of the minor works in ftucco and terra-cotta were embel- lifhed. The prefent fpecimen is, however, evidently only an ancient plafter-caft of a fine original marble, executed as a current article of fale ; it cannot therefore be fuppofed to be coloured with the care and judgment which would naturally have been beftowed on an im- portant original work. io8 Italian Sculpture. 5768. 'ELIEVO of the Madonna and Child, in ftucco, within a fhrine or tabernacle of carved and painted wood. Florentine work ; circa 1500. Size of fhrine, height 4 feet 10 inches, width 1 feet 7 inches: fize of relievo, height 1 feet 4 inches, width 1 foot 5 inches. The relievo, probably moulded from a marble original, has fome- what of the ftyle of the Maiano family. Viewed in connection with its richly-decorated frame, the original painting and gilding of which ftill remain, it affords an interefting fpecimen of the ftyle in which the ma- jority of quattro-cento relievos of the Madonna and Child were originally difplayed. 7622. ELIEVO of the Virgin and Child, in an ornamental fhrine or tabernacolo. Stucco or plafter. Florentine fculpture; circa 1480. Entire height of the tabernacolo 6 feet 6 inches, width 3 feet 8 inches. (Gigli-Campana Col- lection.) This is evidently a repetition in plafter of an important work, in marble or pietra ferena^ by one of the leading Florentine fculptors of the latter part of the 15th century. It appears to be by a different hand from any other fpecimen in this collection, and the writer, though entertaining a vague impreffion that it fhould be referred to fome one of the Maiano family, has no clue to its authorfhip. There can be little doubt that it was a repetition of the time, by the fculptor him- felf ; the fharpnefs of the caft, indeed, denotes that it muft have been reproduced directly from the original ; whilft the fact that one of the members of the decorative fhrine is carved in ftone, in quite as mafterly a ftyle as the reft of the work, alfo tends to fhow that it was not a re- production by a mere forma tore. This detail is a falient bafe mould- ing, furmounting the triangular bracket, which, with its leaf-decoration, is executed in pietra ferena, evidently from the thought, that its fragility, if moulded in plafter like the reft of the work, would have expofed it to almoft immediate injury. This relievo muft have been moft carefully preferved, probably in the interior of a convent. i$th and 16th Centuries. 109 7612. LORENTINE terra-cotta relievo. £>uattro-cento pe- riod. Diameter 17 inches. (Gigli-Campana Collec- tion.) The Madonna and Child within a circular wreath of bay-leaves. 4499. LORENTINE terra-cotta ftatue of the Virgin kneel- ing in adoration, ^uattro-cento period. Height 3 feet 2 inches. This figure is, doubtlefs, a fragment of a compofition of the prefepio^ or Virgin adoring the infant Saviour. It was originally painted in dif- temper, according to the ancient ufage. 6965. TATUETTE, in terra-cotta. A faint feated. Flo- rentine fculpture ; circa 1490. Height 1 foot 9 inches. There is no clue to the authorfhip of this mafterly work. The gaudy colouring has been fuperadded on the original painting at a comparatively recent period. 5889. LORENTINE fculpture. gtuattro-cento period. Height 9f inches, width 8i inches. A female profile head, in white marble, fixed on a background of grey marble. Sculpture of the Neapolitan School. 15th and 1 6th Centuries. 7473- ADONNA and infant Saviour. Bas-relief, in marble. Neapolitan (?) fculpture ; fecond half of 15th century. Height 17 inches, width 13 inches. This work offers an example of a peculiar ftyle of very low relief; it is effentially pictorial in treatment, and, as it was probably enriched originally with colours and gilding, may almoft be confidered a pic- ture in marble. The compofition is enclofed within a border or frame wrought in the marble, and reprefented as if feen in perfpeclive. The Virgin, a half-figure feated in a chair or throne, on the arms of which ftand two lighted candelabra, holds the infant Saviour with the left hand ; the latter ftands erecl: on a cufhion. The Virgin's right hand refts on an opened book. This relievo was purchafed in Naples and was reputed to be the work of Giovanni di Nola -, it is, however, apparently by an ear- lier artift. In the peculiar ftyle of relievo, and in many details, an imitation of Donatello is apparent, but the type of both the Madonna and Child is entirely different ; the rounded features and languid naturaliftic expreffion of the two heads have nothing in common with Florentine art ; it is, therefore, more likely the pro- duction of a Neapolitan fculptor ftrongly influenced by the ftudy of the works of Donatello. This view is ftrengthened by the exiftence of another relievo by the fame hand, alfo a Madonna and Child in extremely low relief, which has on the border of the marble a mield with the arms of Aragon, thus feeming to connect the work with the i $th and 16th Centuries. 1 1 1 dynafty of the Aragonefe kings of Naples.* It is more archaic in ftyle than the prefent fpecimen ; the type of the heads refembles that of the Neapolitan tre-cento fculptors, the Mafucci, or Ciccione. This latter relievo came originally from the church of the " Incoronata" in Naples ; it is probably anterior in date to the Mufeum example and may have been executed towards the middle of the century, but the fame obvious acquaintance with the peculiar characteriftics of Dona- tello is vifible in it. So little is practically known of the Neapolitan fchool of fculpture that it is impomble even to conjecture to whom thefe relievos mould be afcribed. Donatello, in all probability, worked for fome time in Naples ; and the erection there of the celebrated Bran- cacci tomb, when in the height of his great renown, was fure to bring him a following amongft the native artifts. It is not unlikely, therefore, that in thefe works we have fpecimens of a Neapolitan fculptor, who, having originally formed his ftyle on earlier local models, afterwards adopted the newer and more advanced manner of the great Florentine. The brooch or fibula which faftens the cloak of the Madonna has originally been ornamented with a pearl or glafs pafte, but the hole for its infertion now only remains ; fimilar holes in the border mow that it alfo was enriched with imitation gems. 7449> 745°- WO fquare panels, in ftatuary- marble, containing alto- relievos, probably portions of&predella. Neapolitan (?) fculpture; circa 1490. Height of each 9 inches, width 8 inches. No. 7449 reprefents a monk kneeling in prayer, perhaps St. Bene- dia. No. 7450 a pope kneeling bareheaded before an altar, on which ftands a chalice and the papal tiara ; on the right hand are two fmall nude figures, with uplifted hands, furrounded by flames. Probably St. Gregory faying mafs for fouls in purga- tory. (The fubjecl: known as the "trentals of St. Gregory.") Thefe relievos were purchafed in the fhop of a marble-mafon in Naples, and are doubtlefs portions of fome deftroyed altar-piece ; it is, therefore, probable they are the work of a Neapolitan fculptor, or at * This fpecimen is in the poflfeflion of Dr. Bifhop of Naples. I 12 Italian Sculpture. leaft of an artift working in Naples. They have a general refem- blance in ftyle to the works of Giuliano da Maiano and his fchool in Naples. 73 8 9> 739°- WO relievos, in marble, the fide compartments of an altar-piece. Neapolitan quattro- cento fculpture. Height of each 4 feet 5 inches, width 1 foot 10 inches. A reference to the altar-piece of Andrea Ferrucci (No. 6742) will fhow the pofition which thefe fragments occupied in the work. Each wing has in the lower portion a mallow niche with a (hell-canopy con- taining (in No. 7390) a figure of St. Sebaftian bound to a tree, and (in No. 7389) a correfponding figure of St. Peter; above, in each wing, is a circular medallion with a half-figure of a prophet holding a label- fcroll. Portions of the fluted pilafters, which feparated the three divi- fions of the altar, are feen fculptured at the fides of the flabs. Nothing is known of the author of thefe relievos ; he was probably a Neapolitan artift working in the fchool of the Maiani. The marbles themfelves were found, a few years ago, placed with their wrought furfaces down- wards, forming a portion of the pavement of the Jefuit's church in Naples, in which city they were purchafed from a marble-mafon in i860. 7388. 'ECUMBENT fepulchral effigy of a Lady, in marble. Neapolitan fculpture ; circa 1 500. Length of flab 5 feet 10 inches, width 2 feet. The churches of Naples, fo rich in ancient fepulchral monuments, abound in effigies of this exacl: type or pattern. The prefent fpecimen was acquired from a marble-mafon in that city in the winter of i860. It reprefents a middle-aged lady, in a mourning or widow's coftume, lying at full length on her fide, as if afleep, her head refting on a cuihion ; a book is in her right hand. The work is executed in a rather remarkable ftyle of high-relief peculiar to the Neapolitan fchool, and the effigy, as may be feen in fo many inftances in fitu y was placed in an oblique or inclined pofition, and not horizontally, as elfewhere is ufually the practice with recumbent effigies. Thefe figures are placed againft a wall, {lightly raifed on a plinth or dais above the floor, or elfe i$th and 16th Centuries. "3 on the lid of a farcophagus recefTed in the wall at fome height and accompanied with the ufual architectural frontifpiece. It is very difficult to afcertain the authorfhip of thefe Neapolitan tombs with any certainty, two or three reprefentative artifts having — according to the facriftans, ciceroni, and local hiftorians — produced them all. Among them Giovanni di Nola (born 1478, died 1559) is the moft frequently quoted as the author of this particular clafs of effigies. There is, however, nothing in the prefent fpecimen to ftamp it as the work of that eminent artift.* * For Life of Giovanni di Nola, fee " De Dominici, Vite de' Pittori, Scultori ed Architetti Napoletani, &c." Sculpture of the North Italian Schools — Venice, Milan. 15th and 16th Centuries. 4234- RELIEVO, in Iftrian ftone, Virgin and Child, with two boy-angels. Venetian fculpture ; circa 1470-80 (?). Height 1 foot nf inches, width i foot 5 1 inches. The Virgin, feated in a folding chair, holds the infant Saviour in her lap ; the latter has a bird in his hand. On the right, a draped boy- angel holds up a garland, and on the left fide is another, recumbent at the foot of the chair. The individualized type of the countenances, the rather lengthy proportions of the figures, and the elaborate draperies, executed in a fomewhat hard and angular ftyle, are all chara&eriftics of Venetian quattro-cento fculpture. The general ftyle is a faithful reflex of that of the contemporary painters, the Vivarini, Crevelli, and Bellini. An abfence of the higher qualities of expreflion, and ideal elegance of defign, is perhaps redeemed by great technical fkill, and facility in the invention of ornamental details. In painting, the admirable qualities of colour of the artifts of this fchool are familiar to every one ; the contemporary fculpture at the fame time is diftinguifhed by an emi- nently pi&urefque feeling, which, though often degenerating into quaintnefs, has always a certain charm. In Plate 48 of Cicognara's Atlas will be found feveral groups, &c. from the Certofa at Pavia, doubtlefs by Venetian artifts, almoft identical in ftyle with the prefent relievo. i$th and 16 th Centuries. 115 4887. Bj%«^AVELLO, or domeftic fountain, in Iftrian ftone and nfcES veined marble. Venetian fculpture; circa 1500-20. ^£S1?& Entire height 1 1 feet 8| inches, width 6 feet. This elegant work was removed from the interior of a houfe in Venice in 1858. The pilafters, three horizontal cornices, or fhelves and other details, it will be noticed, are ornamented by a peculiar procefs of intarfiatura or inlaying, akin to niello work and damaf- quinerie in metals. This is a characteristic Venetian mode of de- coration, and may be feen in innumerable details of the palaces and churches of the city ; it is produced by carving or engraving in intaglio on flat furfaces of ftone or marble, the incifed defigns being then filled in with black maftic. So abundant and beautiful is the flat ornamenta- tion of this nature in Venice that the defigns are conftantly copied for modern adaptation. The tafteful patterns of ftencilling, to be feen everywhere in Northern Italy on the walls of dwelling-houfes, are mainly derived from thefe fources, and the preparation of the perforated ftencil cards is one of the artl or little trades of Venice. Stalls for the fale of them are to be found in moft of the piazzas of the city, where alfo the vendors may be feen bufily occupied, in fome fhady nook, cut- ting out the patterns which they have traced from the monuments around them. 5399, 5400. WS\ F2?S WO brackets of a balcony, in Iftrian ftone. Venetian fculpture; circa 1490. Projection from the wall 2 l *^~.~ £&k feet, greater!: depth 1 foot 5 inches. Travellers in Lombardy and the Venetian territory will be fami- liar with the beautiful ftone balconies ufually placed before win- dows of the fecond or third ftory of the fa fades of the older palaces. They are, unfortunately, rapidly difappearing, and the prefent and a fimilar pair (Nos. 4884, 4885) are portions of two which were de- ftroyed within the laft few years in Venice, where they were pur- chafed from a dealer, who feems only to have concerned himfelf with thefe richly-carved portions. Their beautiful arabefque ornamentation would feem too delicate and highly-nniihed to have been vifible at the diftance from the eye at which they muft have been placed when in n6 Italian Sculpture, fttu. This prodigality of decoration, at all events, ftrongly illuftrates the univerfality, and alfo the fmall relative coft of production, of the architectural fculpture of this great epoch. 4884, 4885. WO brackets of a balcony, in Iftrian ftone. Venetian fculpture; circa 1490. 27 inches by 17 inches. 539°> 539 1 - iTATUES of the Virgin and of the announcing Angel, in Iftrian ftone. Venetian (?) fculpture; circa 1500. Height of each, 4 feet 8 inches. Thefe ftatues, although probably placed originally in two feparate niches, or, at all events, in fome pofition relative to each other, where each could be feen and judged of feparately, were, neverthelefs, ob- vioufly a pair. Although executed in a facile manner, and intended to be feen at a confiderable diftance from the fpectator, they are yet graceful and elegant figures, fomewhat recalling the fpecific ftyle (in painting) of Gaudenzio Ferrari. As they were purchafed of a London dealer, nothing is known of their previous hiftory ; their characteristic ftyle, and the material in which they are executed, however, clearly denote a North Italian (Venetian ?) origin. 442. HIMNEY-PIECE, in carved ftone. North Italian fculpture; circa 15 20-30 (?). Height 7 feet 6 inches, length (acrofs the cornice) 8 feet, projection of the upper part (cornice) from back to front 3 feet 6 inches. (Sou- lages Collection.) The jambs are decorated with femi-detached balufter-fhaped fhafts, or columns, elaborately carved ; fupported on the capitals of thefe, on each fide, are large projecting trufles or corbels, being figures of tritons or mermen, upholding the entablature. This latter projects boldly 5395- Stone Chimney-piece. North Italian Sculpture, circa l 500-2C ] §th and 16th Centuries. 1 17 forward into the room, forming a hood or canopy, originally finifhed above the cornice by a (loped or pyramidal roof. The various mem- bers of the entablature are richly ornamented with carved mouldings, and the frieze is filled with a continuous band of hunting fcenes, in which are reprefented an immenfe number of figures, horfes, dogs, and wild animals. The figures are executed in full relief, i. e. for the moft part entirely detached from the ground, and the cornice is profufely ornamented with modillions, and decorated mouldings, executed with the utmoft fkill and high finifh. This chimney-piece, which is one of the moft remarkable works of its kind extant, was obtained from the Palazzo Petinelli at Padua. It offers a ftriking illuftration of the tendency of the North Italian fculpture to exceffive elaboration. M. Soulages afcribed it to Tullio Lombardi, (died 1559.) 5397- ILASTER, or jamb of a chimney-piece, in Iftrian ftone. Venetian fculpture; circa 1500. Height 4 feet 7 inches. A reference to the chimney-piece previously defcribed will mow the pofition which this detail occupied in work ; the richly-ornamented balufter-fhaped attached column of the prefent type will be there feen, fupporting on its flender fummit the maflive projecting bracket on which refts the entire fuperftru&ure of the chimney-piece. Thefe balufter- fhafts occur, in Italy, as a general rule, only in the northern diftri&s ; the motive, indeed, is probably of Tranfalpine origin, being everywhere feen in contemporary German, Flemifh, and French architectural orna- mentation. 5395- TONE chimney-piece. North Italian fculpture ; circa 1500-20. Width 8 feet 5^- inches, height 7 feet 6| inches. This chimney-piece was removed in 1857 from the kitchen of an ofteria or fmall inn at Como. The room, however, in which it was erected was originally the hall, or falone grande, of the ancient palace of the Rufconi family, at one time lords or tyrants of Como. 1 1 8 Italian Sculpture. The wood-engraving annexed difplays its general features fufficiently well ; but the beautiful details are, of courfe, merely indicated. They are executed, in the original, with all the fpirit of a Rovezzano or a Sanfovino, and in tafte of defign, not lefs than in beauty of execution, this work may compare with the nneft contemporaneous Florentine productions of the fame nature. From its vicinity to Milan we may, however, fuppofe it to have been the work of a fculptor of that city ; there is, unfortunately, no clue to its authorfhip. (See Engraving.) 7721. TONE chimney-piece. North Italian fculpture ; circa 1560. Height 7 feet 6 inches, width 7 feet 6 inches. Though of a more elaborate and ornate character than the previous fpecimen, this is lefs beautiful as a work of art. In the Como chimney-piece we have a moft refined and pure fpecimen of the beft period of the renaiflance in Northern Italy ; the prefent work, on the contrary, illuftrates the florid exuberance of the ftyle at the be- ginning of its decline. It was recently removed from a palace or villa in the neighbourhood of Brefcia. 5469- LTO-RELIEVO, in bronze. A Pieta, or the dead Chrift fupported by the Virgin. North Italian fculp- ture ; circa 1460. Conjectu rally afcribed to Vellano of Padua. Height 1 foot 8 inches, width 1 foot 7^- inches. The Virgin fupports the recumbent body of the dead Chrift on her knees ; in the background, ftanding on clouds, on each fide of the prin- cipal group, is a draped boy-angel in an attitude of forrow. This im- portant bronze was originally the door of a tabernacoh. Although obvioufly the work of a North Italian fculptor, it ex- hibits many indications of the influence of Donatello. The two boy- angels, in the background, referable fo ftrongly fimilar figures to be found in the Donatello bronze relievos of the choir of St. Antonio in Padua, that it feems highly probable they were infpired by them. x$th and \bth Centuries. 119 The principal group, on the other hand, quite as ftrongly evinces the bias of the early Lombard and Venetian mafters. Thefe oppofing pe- culiarities, it mould be obferved, are diftinctly chara&eriftic of the works of Vellano, to whom the bronze may with great probability be afcribed. Iacopo Vellano of Padua worked circa 1460-80, and is faid to have lived till 1500. 411. f§|TATUETTE, in bronze, of the infant Saviour. North Italian fculpture (?) ; circa 1480. Height 1 foot 7 inches. The undraped Child ftands erect, in the act of benediction ; in his left hand he holds an orb ; round his neck a branch of coral is fuf- pended from a necklace. On the pedeftal in front a fmall amorino is feated bearing a blank fhield. 4217. 'IRCULAR medallion relievo, in bronze. The flight into Egypt. North Italian fculpture ; fecond half of 15th century. Diameter 10 inches. Within a rocky landfcape, with two palm-trees in the background, the Virgin and the infant Saviour are feen riding on an afs ; and on the fame fide, in the fecond plane of the relievo, two lions and a griffin feem to be peacefully following the holy family. This medallion was, in all probability, inferted into the centre of a marble panel filled with foliated ornaments. Several very fimilar ones (probably, indeed, by the fame hand) may (till be feen in fiiu in the celebrated tomb of the Martinengo family, in Sta. Maria de' Miracoli at Brefcia. 7452. ;AS-RELIEF, in marble, within a circular panel or roundel. North Italian fculpture ; circa 1480. Dia- meter 9I inches. A nude figure of an aged man, feated on a ftep or plinth, his left arm extended, holding a little amorino^ which ftands erect in the palm i2o Italian Sculpture. of his hand ; the figure is feen front face. This relievo, originally an infertion into a panel or pilafter, is probably intended as an allegory or imperfonation of fecond childhood. It was purchafed at Milan. In the fomewhat fquare or angular treatment of the nude forms the early Lombard or Venetian fchool is clearly indicated. 440. ORTRAIT-RELIEVO, in marble. North Italian(?) fculpture; circa 1450 (?). Height of the panel 1 foot 11 inches, width 1 foot 9! inches. (Soulages Collec- tion.) Life-fized profile buft of " Francefco Cynthio." He wears the well-known beretta or felt-cap of the 15th century, furrounded by a wreath of bay-leaves ; around his neck, a gold-chain. This ornament and alfo the wreath were originally gilded. The relievo is enclofed within a funk-moulded panel, and at the bottom is a band with the following infcription in Roman capitals, " Fran Cynthius aetatis ann. xxiix." M. Soulages afcribed this beautiful work to " Pifano," (probably meaning the painter and medallift Vittore Pifano, called Pifanello ;) and the work is certainly treated quite in the manner of fome of the early bronze portrait plaques and medals of that great artift. At the back of the flab is an unnnifhed relievo, being two regardant portraits — a lady and a gentleman. 6923. LTO-RELIEVO, in marble, profile portrait buft, be- lieved to be of Ludovico Sforza Vifconti, Duke of Milan. North Italian (?) fculpture; circa 1490. Height 17I inches, width 12^ inches. He is reprefented wearing a low conical cap or beretta, and a fimple doublet fitting tight round the throat. i $th and 16th Centuries. 1 2 1 4683. l^ERRA-COTTA tile, a portion of an arch-band. ^3 %** North Italian fculpture ; circa 1490. Width 8 inches. %dkSSt (Panted by A. H. Layard, Efq. M.P.) This tile, decorated in relief with a compofition of dolphins and other arabefque ornaments, was apparently a portion of the architrave of a femicircular-headed window. Many fimilar architraves may ftill be feen in the brick buildings of the cities in the Lombard plain, par- ticulary at Piacenza and Cremona, and alfo in Bologna. 7674, 7675; 7367,7368; 7673. TEMMA, or coat of arms. Similar "ftemma." Two portions of femi-attached columns. Pediment from a door. Sculptured in lftrian ftone, circa 1500 ; brought from a palace at Cefena. Thefe fragments, by an unknown artift, offer chara&eriftic exam- ples of the fplendid ornamentation of which the Venetian fculptors were the greateft mailers. The Jlemme or coats of arms, with their elegant crefts and lambrequins, will be noticed by every traveller as abounding in the Venetian territory and the Adriatic diftri£ts of La Romagna, where there is fcarcely a palace or villa without its ancient blazon. The ftone in which thefe fculptures are executed is quite as characleriftic of thefe countries as the black ftone of Florence is of the Tufcan diftri£t. It is found, indeed, in almoft univerfal ufe, in all the lowland country along the Adriatic coaft from Venice downwards, having been imported from the oppofite fide of the Adriatic ; it is a compact, fine-grained, lithographic lime-ftone, admirably adapted, from its foftnefs and homogeneous texture, for the execution of thefe delicate arabefques. The two portions of columns and the pediment were parts of a doorway from the fame edifice to which the ftemme were affixed. 7534- XlnreSHE Virgin and Child within a circular medallion, in •is v&P . . gg3 Rgj* wood, painted and gilt. Milanefe fculpture ; circa ^^ 1500-20. Diameter of the medallion 1 foot 11 inches. (Prefented by M. His de la Salle of Paris.) 122 Italian Sculpture. The group in alto-relievo is receffed in a concave fluted medallion, furrounded by a band or architrave decorated with enriched mouldings. The circle is placed on an oblong tablet, on which is infcribed, though in more modern characters than the time of the relievo, " Mater ama- bilis" It is molt likely that the fafcia or band round the medallion alfo contained originally an infcription in gilded or painted letters. In the head of the Virgin the well-known type of the female heads of Leonardo da Vinci, which was fo long an inheritance of the Milanefe fchool, is diftin&ly apparent. 4676. SSMALL relievo, in marble. The entombment. North Italian fculpture ; circa 1540. Height 10 inches, width 7 1; inches. This highly -finifhed miniature work, exhibits the tendency to minute elaboration, already alluded to as chara&eriftic of the North Italian fchools. It was, in all probability, originally executed as a devotional picture, intended to be framed and hung near a bed's head or in front of a prie-dieu. It is interefting to trace the analogy with Swifs and German modes, which prevailed in the adjoining diftri£r.s of Italy: this relievo, although of a higher and purer ftyle, may be taken as an Italian reprefentative of the numerous devotional relievos in alabafter, fo common in the former countries at the fame period. ^@ ^^1 Genoefe Sculpture. 1 5th and 1 6th. Centuries 7*55- ELIEVO, in black {late. St. George -and the Dra- gon. Genoefe fculpture ; fecond half of the 15th century. Length 6 feet 9 inches, height 2 feet 8 inches. This characteriftic work was a fopra porta or bas-relief picture placed over the outer door of a houfe ; the photograph appended to it fhows a doorway with a fimilar relievo and its decorative architrave complete, ftill to be feen, with many others of the fame clafs, in Genoa. Thefe doorways are peculiar to that city, and form, in fact, a diftinct or local feature of its 14th and 15th century architecture. It is eafy to fee that their profufe ornamentation was prompted by the ufe- leflhefs of beftowing any decoration whatever on the other parts of the facades of the houfes, which are ufually fituated in narrow ftreets or alleys, where there is often fcarcely room to recede far enough for the eye to take in even one of thefe portals at a fingle glance. The decoration, which feems to have been thought neceflary to mark the dignity of the houfe, was, therefore, concentrated on the doorway alone. The compofition reprefents St. George, armed at all points, as a knight of the middle ages, on a richly-caparifoned charger, raifing himfelf in his ftirrups, in the a£t. of transfixing the dragon with his lance ; whilft in the background is feen a rocky landfcape, with the princefs and other figures. At each fide {lands a man-at-arms, habited in antique armour, holding a fhield of the fhape ufually called a " tefla di cavallo ;" on thefe fhields the armorial bearings of the family to whom the houfe belonged were originally emblazoned. St. George was the patron faint of Genoa, which explains the reafon 124 Italian Sculpture. why fo many duplicates of this defign are extant in the city. The well- known broad red crofs may be feen, in this relievo, on the fhield of the warrior-faint. The black flate, locally called pietra di lavagna, in which this work is executed, was univerfally employed in Genoa and the diftridts of the Riviera. It is, in facl:, the characleriftic material of thofe countries, efpecially for architectural fculpture. 7 2 5 6. ELIEVO, in black flate. St. George and the Dragon. Length 5 feet iof inches, height 2 feet. A Genoekfopra porta of nearly fimilar defign to the previous fpeci- men, and of the fame period. 7254- ELIEVO, in black flate. The Angelic Salutation. Genoefe fculpture ; fecond half of the 15th century. Length 3 feet 7 inches, height 1 foot 5 inches. This is a fmaller and more highly-nnifhed/^r^7 porta relievo, of the fame kind as the previoufly-noticed fpecimens. The principal group reprefents the Virgin kneeling before a lectern, with the announcing angel before her, holding a lily-branch and a fcroll, infcribed " Ave gratia.'''' At each extremity ftands a boy-angel or fantino holding a kite- fhaped fhield for the family arms. All thefe fopra porte were obtained in Genoa in i860, from dealers who had purchafed them on the demolition of the ancient buildings which they originally adorned. 755 l > 7S5 1 A > and 755 1 B - UNETTE and two piers or pilafters of an altar-piece, in marble. Genoefe (?) 1 5th-century fculpture. Matter unknown. Lunette^ width 4 feet 8 inches, height 1 feet 4 inches ; piers, height 4 feet 8 inches, width 9 inches. The lunette^ a highly-finifhed work in alto-relievo, reprefents the Refurre&ion of our Saviour, with the four Roman foldiers guarding the \$th and 16 th Centuries. 125 fepulchre. The piers are adorned with two heights of fhallow niches with fhell canopies, each containing a ftatuette of a faint in high relief; the figures in No. 7551 a, being St. Peter and St. Paul, and in No. 7551 b, St. John the Baptift and a bifhop trampling a dragon under foot. Unfortunately thefe fculptures, which are evidently the work of an accomplifhed quattro-cento artift, are confiderably mutilated. They formed part of an altar formerly in the ancient church of San Domenico at Genoa, which was pulled down at the time of the erection of the new theatre and the formation of the Piazza in front of the ftrada Carlo Felice. Other fragments from the fame church are preferved in the cloifters of the old Doria church of San Matteo. 7 2 53- HIMNEY- PIECE, in pietra di lavagna. Genoefe fchool ; circa 1520. Height 10 feet, width 8 feet 3 inches. The balufter-fhaped fhafts in the jambs and the general ftyle of ornamentation denote the North Italian origin of the chimney-piece, which, in fact, was brought from a houfe at Savona. Various Works of Uncertain Origin. 15th and 1 6th Centuries. 45 6 4- ROTESQUE fphinx or fyren, fculptured in mar- ble, a portion of a fountain ; date fecond half of the 1 5th century. School and mafter uncertain. Height 3 feet, width acrofs the breafts 15 J inches. This original and fantaftic object was doubtlefs the central portion or jet of a lavello or domeftic fountain, and, in all probability, ftood within a marble bafin, elevated three or four feet from the ground, backed againft an architectural ftruclure or frontifpiece. (See the two examples in this Collection, Nos. 4887 and 5959.) The upper part, furmounted by the neck and head of a female, terminates beneath as a fpecies of confole-leg, ending in a lion's paw ; the cheft of the monfter, betwixt the breafts, is formed by a coloflal mafk of a marine deity with a gaping mouth, in which was originally inferted the bronze cock or pipe from which the water iflued. The breafts of the figure, which are likewife perforated to receive fmaller brafs-tubes, are flanked on each fide by a dolphin. Various parts of the compofition are en- riched with graceful acanthus foliage. 5394 ILASTER, in marble; circa 1500. Height 5 feet, width 10 inches. Doubtlefs a portion of fome deftroyed fepulchral monument. The i$th and 16 th Centuries. 127 trophies of arms and fruit, with which the panel is filled, are on a level with the fineft works of the kind at the period indicated. The original locality of this fpecimen is unknown. 73 6 3> 73 6 4- ^JjARBLE frieze, in two lengths ; circa 1490. Length 6 feet 4 inches, height 1 foot 3 inches. The compofition is divided into two large and two fmaller panels by three richly-carved modillions or confoles. The two large panels are each filled in with a facro volto or face of our Saviour on a napkin, and in each of the narrow panels is an elegant vafe, carved in low relief, with firings of pearls pendant from the handles, and flames ifTuing from the mouth. This fragment was probably the frieze of an altar-piece. It is not known from whence it originally came. 7626. ORTRAIT relievo, in marble. Italian fculpture ; circa 1450. School and mafter uncertain. Height 9 inches, width 6-j inches. (Gigli-Campana Collection.) A profile head of a young man with long hair, cut, in the ufual fafhion of the day, ftraight acrofs the forehead. He wears a doublet fitting tight round the throat, and about his neck a chain or cord with a medallion fufpended from it. In the fimplicity and purity of ftyle this beautiful little portrait recalls the medallion heads of Pifanello and Sperandio. It is not poflible, however, to afcribe it to any known mafter. 4562. TATUETTE of the Virgin and Child, in marble. Italian fculpture; circa 1400-20. Height 1 foot 10 inches. We have no knowledge of the origin of this ftatuette, which was purchafed in Paris. Its original and peculiar ftyle and finifhed execu- tion mark it as a work of fome note, by an excellent quattro-cento fculptor. Further refearch may refult in the difcovery of other fculptures 128 Italian Sculpture, in fitu by the fame characteriftic hand; till then, however, it does not feem poffible to hazard even a conjecture, either as to the actual author of this marble, or the locality of its production. inches. 444- ROUP in the round, in marble. Statuettes of the Vir- gin with the infant Chrift and St. John. School and matter uncertain; circa 1500-20. Height 1 foot 10 (Soulages Collection.) Although characterized by marked peculiarities of ftyle, it feems dif- ficult to determine the author of this work. The influence of Michael Angelo appears, however, very vifible in it, the draperies, efpecially, having a fpecific refemblance to his manner in breadth and largenefs of treatment. On the other hand the compofition, which is very pictorial, ftrongly recalls the holy families of RafFaelle. The writer would fug- geft that it may poflibly be a work of the Neapolitan fculptor Giovanni Merliano, called Giovanni di Nola ; it is to be regretted that there is no record of the locality in Italy whence M. Soulages obtained this group. 743 1- LTO-RELIEVO, in bronze. Judith with the head of Holofernes; circa 1540 (?). Height of the plaque 1 2 inches, width 8 inches. This bronze, which reprefents the heroine draped in the admirable ftyle of an antique ftatue, has been conjecturally afcribed to Iacopo Sanfovino. Its authorfhip, however, is very uncertain. Italian Sculpture. 1 5th and 1 6th Centuries MICHAEL ANGELO BUONARROTI. Preliminary Notice. ^ HE world has feen two great and diftin£t fyftems of fculpture ; that of the ancient Greeks, the crowning glory of which were the Parthenon fculptures of Phidias, and the very different but perhaps not lefs admirable art of modern Italy in the 15th and 16th centuries; the works of Michael Angelo, in the cities of Florence and Rome, being unqueftionably to this latter time what thofe of the great fculptor of Athens were to all other ancient art. It was in Mi- chael Angelo that the art in modern times culminated, and it was he alfo, who, in the decay of his powers, led the van of the decline. It is not given to us now to forefee any frefh development ; the range of the art of fculpture, like that of every other, feems now almoft exhaufted ; and at all events fince Michael Angelo's time artifts have but followed in beaten paths, influenced by the principles and man- nerifm of, by turns, one or the other of the great bygone fyftems. The interval betwixt the appearance in the world of Phidias and Michael Angelo, however, was two thoufand years ; there is, therefore, ftill time to hope for frefh infpiration. In the Parthenon fculptures were embodied the moft perfect ideal of phyfical beauty, an inimitable knowledge and power of delineating the human figure, in every condition of movement and repofe, and a ftyle fo 2efthetically refined and noble as to render its full appreciation poffible only to minds of great cultivation. To Michael Angelo, whether fortunately or not it is difficult to fay, thefe all-important works were unknown. His knowledge and profound appreciation of the antique 130 Italian Sculpture. were bafed on works of the period of its decline, on the torfo of the Belvidere, the Laocoon, the Apollo, the marble Bacchantes, fatyrs, and cupids innumerable, which the teeming Roman foil around him yielded up to the cognofcenti of his day. Undoubtedly thefe works influenced his ftyle ; he was not, however, their flave ; his nervous chifel was infpired by the accumulated power, the diftin&ive ori- ginality, and, in a word, by all the achievement of quattro-cento art. The greateft of his predeceffors, Donatello, feemed even to have be- queathed to him his fpecial infpiration. To Nature, however, Michael Angelo owed the moft : to his own infpiration and to that earneft worfhip and ftudy of Nature's works, which never fail to confer upon the gifted ftudent, fomewhat, as it were, of her creative force. The refult was the production of works which, in his own day even, were immediately ken to be above and beyond all others. Michael Angelo's art, then, was widely different from that of Phidias, different indeed from all antique art, and in nothing more than in its intenfe perfonality ; ancient art was an all-pervading fyftem, abforbing and levelling in its fublime abftra£r.ion all individualities ; everything in it was expreffed literally, materially, but it had little in- ward or fubjeclive expremon, and in this the art of Michael Angelo was fupreme. Michael Angelo himfelf is reflected in every one of his figures ; the terrible energy, the brooding poetic thoughtfulnefs of his own nature is ftamped on every brow ; his imperfonations live with an intenfe vitality, a paffionate earneftnefs and fulnefs of meaning per- vade them all, entrancing us, until we are almoft ready to deem them not renderings of merely human figures, but types of a new and nobler creation. Michael Angelo was born in 1475, intheTufcan territory, and died in Rome in 1564. Succeflively placed at a very early age with the moft eminent mafters of the time, he foon found a patron in the famous Lorenzo de' Medici, who had affembled in one of his gardens a numerous collection of antique ftatues and fragments to ferve as a fchool for young artifts. Lorenzo, with the inftincl: of genius, forefaw the noble talent and the future greatnefs of his protege ; he took him into his own family, and after his death his fon Piero continued his protection. Thenceforward the hiftory of Michael Angelo is that of his works; conftantly employed by the various princes of the houfe of Medici, popes, cardinals, and the magiftrates of his native city, he refided, at intervals, alternately in Rome and Florence, finally fixing himfelf in the eternal city, abforbed in his great labours, his laft and moft ftupendous i$tb and 16th Centuries. 131 being the building of St. Peter's. There never was a nobler or a purer life ; his perfonal character was as grand as his works, and was truly reflected in them ; fimple and auftere in his habits, an indefatigable worker, he neverthelefs lived in familiar intercourfe with the greateft and the moft gifted of his age. Princes deferred to him as to a fupe- rior exiftence, and his proud independence and felf-refpect impofed on even the moft impetuous Pontiff who ever claimed infallibility. Michael Angelo became, in fact, at an early period of his career, known throughout Europe as, in fome fort, a perfoniflcation of the Italian genius, and the Italians were proud of him, glorifying them- felves through him. He was painter, fculptor, and architect:, and pre-eminent in all thefe arts; neverthelefs, it is obvious that, with him, fculpture dominated over and influenced the others, and it is known that he placed that art on the higheft level. The principal incidents in his life and the hiftory of his great works are fo familiar to the general reader, that it is not defirable to dwell further on them here. A life, with a full and minute cata- logue and defcription of his numerous works, has yet, however, to be written.* The finifhed works of Michael Angelo were on fo grand a fcale that, notwithftanding his long life, they are not very numerous ; he was not, indeed, one of thofe fruitful and induftrious artifts, the quantity alone of whofe productions aftounds us. On the contrary, he was a thoughtful worker, prefacing all his great works by a large number of fketches and models ; and obvioufly, to the end of his life, devoting much of his time to indirect or abftract ftudies. The wax models in this col- lection, and others of the fame kind preferved in the houfe of the Buo- narroti family in Florence, throw much light on his manner of working, whilft his very numerous original drawings and fketches are a mine of wealth, from which an immenfe amount of information on his progrefs in art, and the hiftory of his monumental labours, might be extracted. Unqueftionably Michael Angelo was the greateft draughtfman of modern ages, and fortunately a large proportion of his drawings remain to us ; for fuch was the eagernefs of his friends and admirers to poflefs them- felves of the mereft fcratch of a pen from his hand, that they were treafured up with a conftant care never beftowed on the more volumi- * An excellent fketch of fuch a performance, to which is appended an ufeful and well-arranged lift of works, has recently appeared from the pen of M. Charles Clement, " Michel Ange, Leonardo-da-Vinci, Raphael, &c." Paris, Levy, 1861. 132 Italian Sculpture. nous prod unions of inferior men. It is needlefs to fay that thefe drawings are of almoft pricelefs value. * List of the Principal Works of Michael Angelo now extant. LORENCE. Marble head of a faun. (1489.) Uffizj. Marble bas-relief, battle of the centaurs. ( 1490- 1492.) Cafa Buonarroti. Marble bas-relief. Holy family. Cafa Buonarroti. England. Diftemper picture of the Virgin and Child, with St. John and four angels. Collection of Lord Taunton, Stoke Park. Bologna. Statuette, in marble ; kneeling angel, holding a can- delabrum. Church of San Domenico. Florence. Marble ftatue of the young Apollo. Gallery of the Uffizj. Marble ftatue of Bacchus. (1497-1498.) Uffizj. Rome. Marble group, Pieta, or the dead Chrift fupported on the lap of the Virgin. (1498-1499.) In St. Peter's. Florence. Recumbent marble ftatue of the dying Adonis. (1501.) Uffizj. Unfinifhed marble ftatue of St. Matthew. (1503.) Cortile of the Accademia. Bruges. Marble group of the Virgin and Child, on an altar in the Cathedral. Florence. Circular relievo in marble. Holy family. (Unfinifhed. 1503-1504.) Uffizj. London. Circular marble bas-relief. The Virgin and Child. (Unfinifhed.) Royal Academy. (See caft in this Collection.) Florence. Circular picture in diftemper. Holy family, with nude figures in the background. Uffizj. Marble ftatue of David, in the Piazza, near the door- way of the Palazzo Vecchio. (1 503-1 504.) (See caft in this Collection.) * Fortunately this country porTefTes, in various public and private collections, probably a greater number of his original drawings than any other. The Oxford, formerly part of the Lawrence Collection (which alone comprifes feventy-nine drawings), that of the Britiih Mufeum, the Royal Collection at Windfor, the Chatfworth Col- lection, and thofe of feveral private amateurs, numbering altogether, probably, not fewer than two hundred drawings. 7560. Michael Angelo. Cupid, /ifejized Statue in Marble. i$th and 16th Centuries. 133 Paris. Two coloflal marble ftatues of captives, executed for the tomb of Julius II. (1505.) Mufeum of the Louvre. Florence. Unfinifhed marble ftatues of captives. Gardens of the Palazzo Pitti. Rome. Ceiling of the Siftine chapel, painted in frefco. (1509- I5I30 Coloflal marble ftatue of Chrift, in the church of the Minerva. Florence. Marble group of Victory. Salone of the Palazzo Vecchio. Rome. Coloflal ftatue of Mofes. Church of San Pietro in vincoli. Florence. Marble tombs of Lorenzo and Giuliano de' Medici. Sacrifty of San Lorenzo. Coloflal marble buft of Brutus. Uflizj. Rome. Frefco of the Laft Judgment. (1541.) Siftine chapel. Frefcoes of the Capella Paolina, in the Vatican. (1550.) Florence. Unfinifhed marble group of the depofition from the crofs or Pieta, behind the high altar in the Duomo. Naples. Coloflal marble buft of Pope Paul III. In the Mufeum. Rome. Unfinifhed ftatue of our Saviour, a portion of a group of the defcent from the crofs. In the courtyard of a palace (now the Ruffian Legation) in the Corfo. Florence. Various models in wax and terra-cotta, and drawings. Cafa Buonarroti. Oxford. Collection of feventy-nine original drawings, (formerly in the Lawrence Collection.) Lille. Collection of drawings, chiefly of architecture, being the leaves of a fketch-book. Florence. Original drawings. Uflizj. Paris. Original drawings. Mufeum of the Louvre. London. Original drawings. Print-room of the Britifh Mufeum. Windsor Castle. Original drawings in the Royal Collection. Chatsworth. Original drawings. Colleaion of His Grace the Duke of Devonfhire. 7560. ICHAEL ANGELO. Cupid, life-fized ftatue in mar- ble. Proportionate height of the figure, if ftanding eredfc, 5 feet 3 inches. (Gigli-Campana Collection. ) 134 Italian Sculpture. The god is reprefented as a youth of fixteen or feventeen years old, kneeling on one knee in an animated momentary attitude, difficult to defcribe ; the head is turned to one fide, in a movement elegantly con- trafted with that of the torfo ; the right arm extends downwards, as if about to take up fome objecl: from the ground, whilft the other, holding a bow, is raifed in the air, level with the head ; a quiver of arrows and fome drapery refts on the ground on the left. Various portions of the work, particularly the hair of the head and the drapery on the ground, are left unnnifhed, as in many other works of Michael Angelo. The upraifed arm (which from its difengaged pofition muft originally have been fculptured from a different block and adjufted to the ftatue) is a fkilful reftoration by Signor Santarelli, ProfefTor of Sculpture in the Academy of Florence, the original arm having perifhed either from expofure to the weather for a long feries of years, or from having been fractured by piftol bullets, the marks of feveral of which are vifible in other portions of the ftatue, and which were wantonly fired at it whilft placed in the Riccardi gardens in Florence. This ftatue is believed to be the work mentioned by Vafari * as having been executed for Iacopo Galli, a Roman banker, at the fame time as the ftatue of Bacchus now in the Gallery of the Uffizj at Florence, (a.d. 1497,) in Michael Angelo's twenty-fourth year, and during his firft refidence in Rome. It remained, probably for two or three centuries, expofed to the weather in the Gualfonda gardens, in the fuburbs of Florence. Thefe celebrated gardens were the property of the noble family of the Ric- cardi, who, in continuance of a cuftom, probably firft introduced by the great Lorenzo de' Medici, had from generation to generation gathered together a large collection of objects of fculpture, which ferved at the fame time as ornaments to the grounds and as objects of ftudy to the young artifts of the city. From the Riccardi, thefe gardens panned to the Stiozzi family, and from the Marchefe Giuieppe Stiozzi this ftatue was, in 1854, acquired by Signor Gigli. f * Life, vol. xii. p. 169 : — " Conobbe bene poi la virtu di Michel Agnolo, Mefler Jacopo Galli gentiluomo Romano, perfona ingegnofa che gli fece fare un Cupido di marmo quanto il vivo 5 ed appreffo, una figura di un Bacco di palmi died," &c. &c. ■f The following certificates of the authenticity of this ftatue, from Profeflbrs Dupre and Santarelli, given to the Marchefe Stiozzi previous to its fale, may be here recorded. It mould be remarked that, whilft its authenticity as an original work, of Michael Angelo has never been doubted, the opinion of many other eminent Italian artifts, were it neceflary, might be added to the prefent. On the demand of the Roman Academy of St. Luke, a caft was taken for that inftitution by the papal government, before delivering the original work ; it has fince alio been re-moulded i$th and 16th Centuries. 135 Signor Migliarini has recorded the following opinion of the action, or meaning of the work, (privately printed Catalogue or Photo- graphic Album of the Gigli-Collection, atlas folio ; Le Monnier : Florence) : — " A Cupid by Michael Angelo would certainly be reftlefs and full of fire ; he evidently defired that the marble fhould exprefs this, and awaken a fimilar animation in every beholder. It is, however, difficult to trace the true intention of an artift, when time has deftroyed thofe details which were exprefsly added for its explanation. Meanwhile, it feems to us it is intended to {how that this Cupid, having emptied his quiver in vain, even his laft arrow having glanced back to him through the infenfibility of the object againft which it was launched, he precipi- tately feizes it, and prepares to moot it anew, too certain of his own power ; in this violent movement he bends, but to raife himfelf again the more fpeedily. Daring is expreffed in his countenance, and in the turn of his head. The left arm raifes the bow, as if to keep it from injury ; and the different bend of each leg ferves admirably, equally to compofe the group and to difplay the beauty of the limbs, analogous to all the reft of the body ; the perfection of which cannot be defcribed, but muft be feen to be admired. It is known hiftorically that this ftatue was one of the earlieft and molt accurate of Buonarroti's works. He has here carefully imitated beautiful Nature, and followed her under the guidance of precepts inherited from the ancients. In the fequel of his career, having become more daring by practice, and bolder by the in this country, by Mr. Brucciani (formatore of the Department of Science and Art, and the Britifh Mufeum), Little Ruflell Street, Covent Garden, of whom cafts can be obtained. Copies of Certificates. « Pregiatiflimo Signor Marchefe, " Mi ricordo di aver veduto ed ammirato un Amore, per meta inginnocchiato, e che fta al varco afcondente una freccia ; che io non dubito porta effere quefta opera del divino Michel Angelo ; quefto mio giudizio, per la tenuita del mio ingegno, pud eflere tenuto piu per un femplece parere che per una fentenza artiftica; ma comunque fi fia e per6 1' efpreffione della mia convinzione. Mi creda, " Suo devotis fervo, « Di Studio le 20 Settembre, 1854." " DuPR ^- " Firenze, 29 Novembre, 1S54. " Io fottofcritto avendo accuratamente efaminata una ftatua in marmo, di grandezza al naturale, in una polizione aggrupata, rapprefentante Amore, appartenuta al Signor Marchefe Stiozzi, ad oggetto di pormi in grado di efporre la mia opinione per quanto le mie cognizioni nelT arte lo permettono, nell 1 artifta che pofla eflere ftato l 1 autore, credo poter francamente dire efler quella ftatua un' opera del divino Michel Angelo Buonarroti, e credo ancora che difficilmente pofla accadere di emettere un parere su tali cofe con maggior convinzione di quello che faccio in queft' occaiione. " Emilio Santarelli." 136 Italian Sculpture. courfe of years, he trufted more to his memory, and acquired a manner (of feeing) peculiar to himfelf ; his works, though always admirable, no longer difplaying their primitive purity and candour." [See Engraving.) 41 14. ICHAEL ANGELO. Skeleton or anatomical ftudy. Model in red wax. Height 16 inches. (Gherardini Collection.) Although greatly mutilated, the truth to Nature and perfection of detail of this extraordinary model are ftill fo apparent, as vividly to imprefs us with the extent and profoundnefs of the preliminary ftudies by which Michael Angelo acquired his power of delineating the human figure. This model has every appearance of being a direct ftudy from the dead fubject. The attitude of the figure, moreover, cor- refponds fo clofely with that of the marble ftatue of Bacchus, that it may fairly be prefumed to have been an anatomical ftudy for that celebrated work. It reprefents a fkeleton, or partially diflected figure, in a living attitude, and the procefs of ftudy would feem to have been as follows : — an articulated fkeleton was probably fet or ftrung up in the required pofe, and copied in wax, on an elaborate framing of wires, with wonderful perfection down even to the minuteft bones of the hands and feet ; the ligaments and mufcles, which imme- diately overlie the bones of the torfo, neck, and cranium^ were then fuperadded, moft likely, from an actual direction. The abdomen is reprefented as ftill intact with its contents, the torfion of its mem- branaceous envelope — efpecially at its junction, with the bones of the pelvis — being rendered with admirable truth, whilft not lefs re- markable is the reproduction of the mufcles and ligaments which bind together and connect the ribs with the fpinal column. Generally fpeaking, the model has the exact appearance of a human body from which all the fiem has been removed, except fo much as was neceflary to allow the bones to hang together. The left arm and a portion of the femur or thigh of the left leg are, unfortunately, wanting. A model of fimilar dimenfions and nature, but in a different pofe, forms part of the Collection of the Cafa Buonar- roti at Florence. It may be remarked that the mechanical difficulties attending the execution of fuch frail and Render productions as thefe models, muft have been very great, whilft their prefervation down to the prefent time is not lefs wonderful. i$th and \6th Centuries. '37 4109-41 13. ICH AEL ANGELO. Five anatomical models in wax :— No. 4109. A right arm. Length 9 inches. „ 41 10. A right leg. Length gi inches. „ 41 1 1. A left leg. Length g\ inches. „ 41 1 2. A right arm. Length 8 inches. „ 41 13. A left leg in a bended pofition. Length 6| inches. (Gherardini Collection.) Thefe pieces are apparently ftudies for portions of projected works, and feem to have been either directly modelled from directions, or from fketches or memoranda fo obtained. They fhow the development of the external mufcles, in the particular attitudes of the feveral limbs, and are, indeed, learned exercifes, full of life and movement. No. 4109 evidently reprefents the pendant arm of the colofTal ftatue of David; and Nos. 41 10 and 41 11 the legs of the fame figure; whilft No. 41 13 is, in all probability, one of the legs of the dead Chrift in St. Peter's. It is ftated in Vafari (vol. xii. page 166) that the prior of the convent and hofpital of San Spirito, in Florence, (circa 1493 ?), gave Michael Angelo rooms, and every facility for diflection ; that he there diflected many dead bodies, and that thefe ftudies were the foundation of the great knowledge of defign which he afterwards difplayed. In thefe exercifes it is fuppofed that he was alfo amfted by the anatomift Delia Torre ; and a moft interefting, though fomewhat ghaftly, pen- drawing is ftill extant in the Oxford Collection (No. 50), reprefenting two men — fuppofed to be the artift and his friend — directing a dead body, in the ftomach of which is inferted a lighted candle. It is to be noted that all the works for which thefe anatomical ftu- dies feem to have been exprefsly made were of his early time : (the Bacchus, 1497-8; the Pieta of St. Peter's, 1498-9; the David, l5°i-3-) 4106. ICHAEL ANGELO. David; original model, in wax. Height 3f inches. (Gherardini Collection.) Michael Angelo executed two different ftatues of David ; the colofTal marble of the Palazzo Vecchio, (fee caft in this Collection,) T 130 Italian Sculpture. and a bronze, probably of life-fize. The former was commenced in 1 50 1, and erected in its place in 1504 ; and the latter, ordered by the fignoria in 1 502, was not finifhed till 1508 ; the bronze was intended as a prefent to the Marefchal de Gies, a favourite of Francois premier, whom the Florentines wifhed to conciliate. This perfonage, however, fell into difgrace before the work was finifhed, and it was ultimately fent to Robertet, one of his fucceflbrs in the royal favour. It is fup- pofed that the latter erected it in his chateau in France, and that it has long fince been melted down, there being, at all events, no further record of it. Unfortunately, therefore, the two great works of Michael Angelo, in bronze,* are both entirely loft to the world. The marble David was executed by M. Angelo from a block, which, when he took it in hand, had been roughly hewn into fhape, according to a previous defign, by a certain Maeftro Simone. He was, therefore, greatly reftriclied and fettered in the carrying out of his own model by the reduced dimenfions and general condition of the block itfelf. Ample accounts of the various circumftances attending the produc- tion of both thefe works' will be found in Vafari, and alfo in the " Car- teggio," &c. of Gay e. Enough, however, has been here faid to fhow that, confidering the difficulties he had to contend with in refpecT: to the block, it was likely that Michael Angelo would make even an unufual number of previous efTays, both in the fhape of models and drawings ; whilft the facl: that the bronze figure was in progrefs at the fame time would lead us to expe£t a certain general accordance in ftyle, if not in the adual defign of both works. A pen-fketch is ftill extant (formerly in the Marriette and Lawrence Collections) which has been always fuppofed to reprefent the bronze David \ it is evidently, like the prefent wax model, only a preliminary defign, and not an after reminifcence of the finifhed work ; but its general ftyle and afpecl: is fo diftin£tly that of a work in bronze that there is every likelihood that it clofely refembles the bronze figure as it was finally executed. f Now the prefent wax model is very different from either of the previous compofitions. It agrees, indeed, with the fketch for the bronze in one particular only, viz. in having the colofTal head of Goliath on the * The other being the colofTal bronze ftatue of Julius II, executed for Bologna, and deftroyed by the populace two years afterwards. f A facfimile of the drawing is appended. The plafter caft of the marble David, taken dire£t from the original, was prefented to the Mufeum, in 1857, by the Grand Duke of Tui'cany, having been then moulded for the firft time. The head of the figure has been fince remoulded for this Department, and may be had of Mr. Brucciani. i$th and 16th Centuries. 139 ground, arranged as a fupport or mechanical means of ftrengthening the work, (the marble figure has the ufual conventionalized trunk of a tree inftead, for this neceflary purpofe.) No decifive inference, however, can be drawn from this point of refemblance, as the head is placed very differently in the two defigns, and, as arranged in the wax model, it might perhaps have ferved even as a fufficient means of fupport to a marble ftatue. Although, therefore, it may be taken for granted that this fketch was a firft thought for one or other ot thefe famous works, it is not eafy to decide for which of them it was intended. Both the marble and the drawing reprefent a figure in repofe, whilft the prefent model mows the young hero in a momentary movement, expreffive of energetic action, the body thrown back and legs apart, as if juft about to fling the ftone at his adverfary ; unfortunately both arms have perifhed, but from the pofition of the portions which remain they appear to have been raifed and boldly detached in front of the body. Now fuch a difpofition would, in any cafe, feem more fuitable to the bronze than to the marble, particularly when the limited dimen- iions of the block at Michael Angelo's difpofal is taken into account ; unlefs, indeed, defpairing of bringing every part of his ftatue entirely within the compafs of the marble, he had at one time decided upon executing the arms from feparate pieces and afterwards adjufting them to the figure. The general ftyle of the model feems perhaps, indeed, rather that of a work intended to be executed in marble than in bronze, for the latter material lends itfelf naturally to a more pi&urefque treat- ment, as indeed may be feen in the pen-fketch alluded to. The model, it may be obferved, has the fimplicity and refined fobriety of treat- ment of the pureft Greek art. In the pofe and general treatment of the figure, it ftrongly refembles one of the antique coloflal ftatues of the "Monte Cavallo" in Rome, which being in fitu in Michael Angelo's time, and, doubtlefs, feen by him only a fhort time before the period of the prefent work, may be fuppofed to have been ftill frefh in his mind.* Some analogy may alfo be perceived with the pofe of the St. George of Donatello, a work which Michael Angelo is known to have greatly admired. * See Cicognara, " Storia della Scultura," vol. v. p. 151, and note, for a curious comparifon of the Florence David with the colojfi of the Monte Cavallo. Had Cicog- nara been aware of the exiftence of the prefent model, which mows fo evidently the influence of thefe ftatues on Michael Angelo, his argument would have been greatly ftrengthened. 140 Italian Sculpture. 4117. ICH AEL ANGELO. Small fketch of a (lave or tela- mone y model, in wax. Height 6 inches. (Gherardini Collection.) This is undoubtedly a firft thought for one of the ftatues intended to form part of the tomb of Julius II. The coloflal marble ftatue of correfponding defign, is one of the two which were brought nearly to completion, and are now in the Mufeum of the Louvre in Paris. The hiftory of this tomb, which, if carried out as originally defigned, would doubtlefs have been one of the grandeft monuments of fculpture that the world had ever feen, is intimately interwoven with nearly the whole artiftic career of Michael Angelo. Projected during the lifetime of Julius II, and at firft urged on by him with all the impetuofity of his impatient nature, it was foon laid afide for other projects of equal mag- nitude, with which the pontiff overwhelmed the great artift. Once abandoned, Michael Angelo was never able again to take it ferioufly in hand, and it hung over him as a dead weight for the reft of his life, — in his own words, he fays, " I loft the flower of my youth, tied down to this fepulchre."* It was commenced in 1505, and the prefent fketch was probably made in that year. The original defign was that of an immenfe quadrangular altar-tomb, ftanding entirely detached on every fide, and it was to have been ornamented with upwards of forty ftatues, all of a coloflal fize, befides a great number of baflb-relievos and elabo- rate architectural details. This grand defign was modified on feveral occafions, each time being reduced in importance, until, at laft, it finally dwindled down to a mere facade erected againft a wall (in the church of" San Pietro in vincoli" ), forming little more than a background to the glorious ftatue of Mofes, which was the only one of the forty entirely and finally completed by the hand of Michael Angelo. An endlefs feries of negotiations, heartburnings, and difficulties embittered the beft years of his life ; and the tomb, as it now ftands, was not finally completed till the year 1550.T The captives, for one of which the prefent model was a fketch, were a feries intended to be placed around the fides of the tomb, as * Letter to the Duke of Urbino. Vafari, vol. xii. " Commentario" p. 315, — " Io mi truovo aver perduta tutta la mia giovineza, ligato a quefta iepultura." f The fulleff. and moft detailed hiftory of this work and the negotiations attending it will be found in the Life and Commentaries in the often-quoted Le Monnier edition of Vafari. The entire account has all the intereft of a romance. 4108. Michael Angelo. Hercules and Cacus, Model in Wax. i$th and 16th Centuries. 141 originally defigned, upholding the cornice in the manner of telamones. Several of them were rough hewn, and more or lefs advanced towards completion. Four of thefe are ftill to be feen in a grotto in the Boboli gardens at Florence ; the two now in the Louvre, however, are nearly finifhed. After the original defign was finally abandoned, Michael Angelo prefented thefe two ftatues to Roberto Strozzi, who had taken care of him during an illnefs. They were by the latter carried to France, and fold to Francis I, who in turn gave them to the Conftable de Montmo- rency, who placed them in his chateau of Ecouen, near Paris. In the fucceeding century they became the property of Cardinal Richelieu, whofe lifter, after his death, placed them in her manfion in Paris ; and finally, in 1793, they were bought for a mere trifle by Lenoir for the " Mufee des Monuments Francais," which he founded; from whence they paffed to the Louvre. 4108. ICHAEL ANGELO. Model, in wax, fketch for a group of Hercules flaying Cacus. Height 14 inches. (Gherardini Collection.) Hercules is in the a£t. of ftriking down Cacus with his club ; the latter, in a contorted attitude, is huddled together at the feet of his antagonift, and weakly embraces his legs in the agony of defpair. The head and arms of Hercules are wanting, and feem, indeed, never to have exifted in this model. It is, doubtlefs, a firft fketch for the coloflal group, projected only, by Michael Angelo as a -pendant to his ftatue of David. In the Collection of the Cafa Buonarroti, at Florence, where it has remained ever fince the death of the artift, is preferved a fimilar model for this compofition, but executed in terra-cotta ; it like- wife wants the head and arms of the Hercules, and alfo the head of Cacus, which is given in the prefent wax model. It is needlefs to infift on the grandeur and energy of this noble compofition ; the tefti- mony of the prefent fketch muft excite, in the mind of every true con- noiffeur, the deepeft regret that the world was not deftined to behold the completion of the idea thus fhadowed forth. The hiftory of this famous defign, the execution of which finally fell to Baccio Bandinelli, the open imitator and would-be rival of Michael Angelo, is full of intereft. It appears that an extraordinarily large block of marble — nine braccia high and five wide — was quarried at Carrara, at the time that the quarries were being worked for marbles 1 4 2 Italian Sculpture. for the facade of San Lorenzo in Florence ; and we learn from letters of the Gonfaloniere Pier Soderini to the Marquis of Mafia, dated io May and 16 Dec 1 " 1508,* that he had refolved to give it to Michael Angelo to make a correfponding ftatue to the David, which he had already executed for the Piazza. In the firft of thefe letters Soderini announces that Michael Angelo would come to Carrara to block out (fbozzare) the marble, according to the requirements of his defign, fo as to reduce its weight, previous to its being fent to Florence ; and in the fecond he explains that the artift had not been able to come, on account of the oppofition of the pope (Julius II), who would not allow him to quit the great works then in hand for him. At the fame time he ftates that only Michael Angelo himfelf could conduct this operation, adding that the patience of the Marquis would be ultimately repaid by the pro- duction of a work equal to the antique, which would redound alike to the honour of the city of Florence and his own. Probably the prefent wax model was made at this time (1508) ; the ftatue or rather group in queftion, as appears from other notices, (Vafari, p. 305, &c.) was to have been a Hercules and Cacus, the two heroes David and Hercules, like our own giants in Guildhall, being emblematical patrons of the Palazzo. It is clear, however, that Michael Angelo never went to Carrara on this errand, being occupied with the ceiling of the Siftine chapel in Rome, and a hoft of commiffions prefted upon him by the impetuous pontiff. The marble, meanwhile, remained at Carrara for many years longer, a bone of contention and a fource of endlefs heartburnings and mifchief. Vafari (Life of Bandinelli, vol. x. p. 305) gives a moft in- terefting account of its further fortunes. It appears that, on the death of Leo X, the erection of the facade of San Lorenzo, for which the marbles at Carrara had been prepared, was fufpended or abandoned ; and thefe, with the great block in queftion, lay ufelefs at the quarry, his fucceffor, Pope Clement, having determined to proceed vigoroufly with the facrifty or fepulchral chapel of San Lorenzo, inftead. For thefe works, therefore, frefh marbles were required ; and a certain Domenico Boninfigni was appointed by the pope to fuperintend their preparation. This man endeavoured to induce Michael Angelo to join him in de- frauding the pope, by fubftituting the marbles formerly prepared for the fa fade, and getting paid over again for them, as if they were newly ex- tracted from the quarries for the fpecial work in hand. On Michael Angelo's indignant refufal to join in fuch a nefarious fcheme, Boninfigni * Gaye, " Carteggio," &c. vol. ii pp. 97? 107. i$th and 16th Centuries. 143 became his bitter enemy, and one of his intrigues was to perfuade the pope to give the great block of marble, lying at Carrara, to Baccio Ban- dinelli, infinuating that Michael Angelo had his hands full enough without it, and that it would be far better to ftimulate both him and Baccio by encouraging rivalry betwixt them. Baccio, whofe felnfh and malignant character needed no fuch ftimulus, loft no time in exert- ing himfelf to obtain the commiffion ; and finally, to Michael Angelo's great difguft and difappointment, the pope gave it to him. The latter thereupon fpeedily made a nnifhed model in wax, alfo of a Hercules and Cacus, and was fent to Carrara to fee the marble. The tafk of bringing the block to Florence by the river Arno was finally committed to the capomaejlri, or fuperintendents, of the Opera del Duomo ; but the water of the river being very low, when it had been brought within eight miles of the city, the barge containing it was ftranded, and the block thrown overboard and imbedded in the mud. With much diffi- culty it was, however, raifed again, and brought fafely to its defti- nation ; and Baccio, having made a fecond model, (the block on ex- amination not proving large enough to admit of carrying out his original defign,) fet to work on it. His troubles were here, however, about to commence. He was as univerfally hated and detefted by his fellow-citizens, and efpecially by the artifts, as he feems to have been in favour with the Medici dynafty ; and when in 1527 the latter were driven from Florence by the Republican party, Baccio thought it pru- dent to make his efcape alfo, leaving his great marble group only partly roughed out. Now again came Michael Angelo's turn ; at this time the latter had returned to Florence, and was one of the moft ardent and enthufiaftic of the band of patriots who were endeavouring to re-eftab- lifh the liberties of their country. It needed, therefore, very little effort on his part to procure the reftitution of the marble, and the Jig- norla^ by a folemn a£t, in which the merits of Michael Angelo are lauded to the fkies, gave it to him again, notwithftanding, as they fay, it had in time paft been confided to another.* Vafari fays, (vol. x. p. 311) — " Whilft the popular government, after the expulfion of the Medici, reigned in Florence, and whilft Michael Angelo was charged with the dire&ion of the fortification of the city, the marble which Baccio had begun to work, together with his full-fized model of the Hercules and Cacus, was mown to him, in order that he might take the former and make a group from it, provided Baccio had not diminifhed its fize too much in the fenfe of his own defign. Michael Angelo * Gaye, vol. ii. p. 98, i44 Italian Sculpture. thereupon, confidering the reduced dimenfions of the block, determined on his part alfo, to abandon his firft idea of a Hercules and Cacus, and to execute inftead a group of Samfon flaying two Philiftines with the jaw-bone of an afs ;* but as often happens, what man propofes, God difpofes very differently ; for when the fiege took place, Michael Angelo was obliged to take to a very different occupation from that of carving marble, &c. &c." Michael Angelo, in his turn, was obliged to fly from Florence fhortly afterwards ; and Baccio, returning again with the victorious faction of the Medici, finally obtained the work from Duke Aleflandro, and finifhed the group. Vafari well obferves : — " And fo was our city deprived of a moft rare ornament, which certainly that marble would have become under the hands of Buonarroti." Baccio's performance was an egre- gious failure ; and its erection in the piazza, where it is ftill to be feen, was the fignal for a ftorm of odium and ridicule which literally over- whelmed him ; for the Florentines hated him, as a man, as much as they loved and reverenced Michael Angelo ; and they feized the oppor- tunity of expreffing their diflike to the artift, and at the fame time of making a political demonftration againft his patron, Duke Aleflandro, who, at laft, was forced to put down the popular manifeftation, of which the group was the oftenfible obje£t, by imprifoning a number of the malcontents. (See Engraving.) 4107. ilCHAEL ANGELO. A mafk, fketch in terra-cotta. Height 3 inches. (Gherardini Collection.) This admirable model, though a very hafty fketch in clay (half-baked to preferve it, probably by the provident care of fome pupil or afliftant) is a work fuch as only this great artift could have produced. In the words of the original inventory of the Gherardini Collection, " it exhibits, though in fmall dimenfions, all the admirable power (bravura) of Michael Angelo in wild and fantaftic fubje£ts ;" the intenfe expreflion of wolfifh ferocity, produced by a few apparently random touches of the modelling tool, is indeed moft wonderful. It is believed to be a firft fketch for the mafk on which refts the arm of the celebrated allegorical figure of Night, on the Medici tomb in San Lorenzo. * See alfo Vafari, vol. x. p. 289, in the Life of Pierino da Vinci, from which it appears Michael Angelo aaually made fome lketches (probably models in wax) for this laft fubjea of Samfon and the Philiftines. i $th and ibth Centuries. H5 41 16. jj|lCH AEL ANGELO. Statuette of the young Apollo ; I J model, in red wax. Height 9 inches. (Gherardini ; Collection.) The marble ftatue, of life-fize, in an unfinifhed ftate, of which this is probably the firft fketch, has, within the laft few years only, been placed in the gallery of the Uffizj in Florence ; having previoufly, for a long time, remained neglected and unrecognized in a niche of the the- atre, in the Boboli gardens. Vafari (vol. xii. page 212) records the circumftances under which the ftatue was executed (a.d. 1530) after the fiege and capitulation of Florence, during which Michael Angelo had been one of the moft pro- minent and energetic on the fide of the defenders : — " Baccio Valori, the pope's commimoner, had orders to arreft and confine in the Bar- gello certain of the citizens who were the moft compromifed, and the court itfelf caufed Michael Angelo to be fought for at his dwelling ; but he, fufpecting their intentions, fled fecretly to the houfe of one of his particular friends, where he remained fome time concealed. However, when the firft fury had fubfided, Pope Clement bringing to mind Michael Angelo's unequalled talents, gave orders for him to be fought out ; and that not only fhould nothing be faid to him, but that, on the contrary, all his previous appointments mould be reftored to him, and that he fhould proceed with the works at San Lorenzo. Reaflured hereupon, Michael Angelo commenced, in order to conciliate the good offices of Valori, a ftatue of three braccia high, in marble ; reprefenting an Apollo drawing an arrow from a quiver ; this he nearly brought to completion ; and at prefent it is in the chamber of the Prince of Flo- rence, and is a moft rare and beautiful thing ; although, as I have faid, not entirely finifhed." The left arm and the right leg, from the knee downwards, are wanting in the prefent model. JICHAEL ANGELO. Small ftatue, in marble; an unfinifhed figure of St. Sebaftian. Height 3 feet. (Gigli-Campana Collection.) u 146 Italian Sculpture. The faint is reprefented ftanding erecT: with his hands tied behind his back. The movement of the figure is fomewhat contorted. It is an uncompleted fketch, the moft highly-flnifhed portions being merely rough hewn, whilft other parts, fuch as the arms and legs, are fcarcely to be diftinguifhed from the mafs of marble from which they were being developed. This little ftatue was evidently left by Michael Angelo in an unnnifhed ftate, like fo many other of his works, either, as Vafari intimates, from the furore of his genius, which difgufted him with works already commenced, and which it would have been neceflary to carry to perfection with days and months of perfevering labour ; or from the facl; that his hafty and impetuous manner of working the marble, itfelf expofed his works in progrefs to numerous accidents, which became a fimilar caufe of annoyance and difcouragement to him. It is known that Michael Angelo feldom availed himfelf of the mecha- nical appliances in ufe with the fculptors of his day, trufting to his eye and hand alone ; and the prefent little ftatue, whether intended to have been elaborated into a finifhed production or merely begun as an exer- cife,* has all the appearance of having been brought to its prefent ftate without any previous finifhed model, i. e. it feems as though he had at once attacked the rough block with chifel and drill, probably with nothing before him but a flight pen-fketch or a hafty little model in wax. (See that of the Slave in this Collection, No. 41 17.) It is im- pomble to determine to what period of his long career the work belongs. Its general refemblance in ftyle to the flaves of the Louvre, however, * It is recorded that Michael Angelo, towards the end of his career, was in the habit of working at his unfinifhed marbles, for the lake of manual exercife only, in the cold weather, commencing fome, and probably finally fpoiling, in his impetuofity, many others of his works in progrefs. The prefent ftatue has loft a large piece of the marble from the top of the head, and the head itfelf has alio been detached from the body. An old French writer, Blaife de Vigenere (" Les Images de Philoftrate," Paris, 1629, p. 853) recounts that, being in Rome, (circa 154.6,) he had feen Michael Angelo at work at his marbles with an incredible vigour and impetuofity; — in his own language: — " Je l'ai vu, bien qu'age de plus de foixante ans, et encore non de plus robuftes, abattre plus d'ecailles d'un tres dur marbre en un quart d'heure que trois jeunes tail- leurs de pierre n'euflent pu faire en trois ou quatre, chofe prefque incroyable a. qui ne le verrait, et il y allait d'une telle impetuofite et furie, que je penfais que tout Touvrage dut aller en pieces, abattant par terre d'un feul coup, de gros morceaux de trois ou quatre doigts d'efpaiffeur fi ric-a-rac de fa marque, que s'il eut paffe outre, tant foit peu plus qu'il ne fallait, il y avait danger de perdre tout, parce que cela ne fe peut plus reparer apres, comme les ouvrages d'argile et de flue." See alfo, in refpecT: to Michael Angelo's method of procedure in working in marble, a moft interefting paflage in Benvenuto Cellini's treatife on goldfmith's work and fculpture (" Due trattati," &c. Fiorenza, Valente Panizij & Marco Peri. 1568), leaf 57. 15th and i6(h Centuries. '47 executed for the tomb of Julius II, may perhaps warrant its being re- ferred to his early period, circa 1505 (?). Signor Migliarini has remarked in reference to it, (Album of the Gigli Collection*) : — " Very fingular are the Sketches of this incomparable artift ; and many of them are extant. They are wonderfully real in appearance, as though the figures had been latent in the marble, and the repeated ftrokes of the chifel had merely had the power to awaken them, as it were, from the deep of matter ; then they feem to move, difencumber- ing themfelves by flow degrees from the inert mafs, becoming animate. The fable of men being born of ftones would be more applicable to Buonarroti than to Deucalion. " Torfo of a Female ; model, in (Gherardini Col- 4105, JftlCHAEL ANGELO. il \ \vm\ black wax. Height 13 § inches <~~ml~~ leclion.) This is a flight unfinifhed fketch, perhaps a ftudy or recollection, from a female model ; the torfo and thighs, down to the knees, only remain. It is literally from the hand of Michael Angelo, being, like the model of the flave (No. 41 17), rapidly blocked out in the foft wax, almoft entirely with his thumb and fingers. 4104. iSTflCHAEL ANGELO. A colofTal Left Hand. Highly- j finifhed model, in terra-cotta. Height 9 inches. (Gherardini Collection.) The plafter caft of this hand had been, for ages, celebrated as a ftudy for artifts, being commonly known in the ftudics of Italy as * Profeffors Santarelli and Dupre alfo communicated the following obfervations to Signor Gigli : — " Richiefto del mio parere fopra una Bozza in marmo alta un braccio e mezzo, che fembra rapprefentare un San Sebaftiano con le mani legate dietro il dorib, per la fovrumana intelligenza d' arte d' improntare alia prima con lo fcalpello le parti anatomiche dell' azione, e quindi per il terribile girare della grandina veftirle di came, e avvivarle, reputo queft' opera del divino Michel Angiolo, e di grande im- portanza perche moftra qual fofle il fuo modo di difporre il lavoro e condurlo come ne abbiamo iaggi in quefta Academia di Belle Arti, e nella Galleria degli Uffizi. " (ligned) Prof. Emilio Santarelli, " Giovanni Dupre." 148 Italian Sculpture, " Michael Angelo's hand 5" but nothing was known of the original till this terra-cotta came to light in the Gherardini Collection. There is every appearance that the prefent is the original work, and, from its careful defign and finifhed execution, it feems moft likely that Michael Angelo himfelf intended it for the purpofe, which, by means of the reproduction in plafter, it has always ferved. That he did exe- cute both drawings and models, as direct leflbns to his numerous fcholars, there is abundant evidence to fhow. 4119. |ODEL, in terra-cotta. A reduced copy of Michael Angelo's recumbent ftatue called {landing as cary- atides. Roman (?) 17th-century fculpture. Afcribed to AlefTandro Algardi, (born 1598, died 1654.) Height of each 1 6J inches, width 1 2 inches. Thefe terra-cottas, originally part of the fame decorative work, are executed altogether in the ftyle of bronze fculpture. Their fharp and crifp execution refembles rather the work of the chafing chifel than the modelling tool. In an executive point of view, they are full of merit ; recalling the clear and precife touch and graceful manipulation of the painter Guido, in the fitter art. There is, indeed, in thefe models a decided character of the Bolognefe fchool, to which Algardi belonged. 5422. OLOSSAL portrait, head of a Pope or Bifhop, in beaten copper. 17th-century fculpture. Author unknown. This head is entirely hammered up, from within, from a meet of thin copper, in the ufual procefs of repoujfe work. The wide border of the cope, on the breaft and moulders, is embofTed on one fide, with a figure of St. Michael overthrowing Satan, and on the other, with a {landing figure of St. Anthony j it is fattened in front with a large morfe or brooch. The head has confiderable refemblance to Pope 1 84 Italian Sculpture. Paul V. (Borghefe), and it was perhaps executed about the time of his pontificate (1605-1621). The celebrated colofTal ftatue (upwards of 60 feet high) of St. Carlo Borromeo, on the hill above Arona, on the Lago Maggiore, is in great part executed in beaten copper in this ftyle. 5863. jTATUETTE of St. Jerome, in terra-cotta. 17th century ; after Bernini. Height 1 foot 6 inches. The faint is ftanding in a rather contorted attitude, em- bracing a crucifix. The original of this fketch is a marble ftatue by Bernini, in the Chigi chapel in the Duomo of Siena ; the prefent terra- cotta is apparently a reduced copy from the ftatue by a contemporary hand. All the objectionable characteristics of Bernini's ftyle, and, in- deed, the affectation and theatrical mannerifm of the 17th century in general, are difplayed in this performance ; its only merit is a certain eafy dexterity of execution. 7527, 7528. WO colofTal bufts of Mufes or Sybils, in Carrara marble. . Second half of the 17th century. School of Bernini. mdMmgi Height, with pedeftals, 2 feet to inches. Thefe bufts were purchafed from the Roman dealer Luchetti, who procured them from the Palazzo Bernini in the Corfo ; the refidence built for himfelf by the fei-cento maejtro. This houfe is ftill the property of the defcendants of Bernini, and the cortile is ornamented with a colofTal allegorical ftatue of Truth, from his hand, placed there, as recorded on the pedeftal, fhortly after his death. This ftatue, which is at prefent underftood to be for fale, is the laft of the many relics of the fculptor and his fchool which the houfe formerly contained. The prefent bufts may have been fculptured in the ftudio of the maeftro ; and perhaps from his (ketches. 1088. |OLOSSAL bronze buft of Pope Innocent X. ijth Century. 185 1089. IMILAR buft of Pope Alexander VIII. Roman 17th- century fculpture ; ftyle of Bernini. Height of each buft, 3 feet 3 inches. Thefe important bronzes were originally afcribed to AlefTandro Algardi, and they have been fince attributed to Bernini. Although, as works of art, worthy of either of thefe fculptors, there are difficulties in the way of afcribing them with any certainty to either. The two bufts appear to be by the fame hand ; there may, however, have been an interval of time betwixt them, the earlier one (Pope Innocent X.) being certainly the more vigorous and mafterly work of the two. Innocent X. (Gian. Battifta Pamfili of Rome) was elected Pope in 1644 an( l died in 1655 > nippofing the buft (No. 1088) were executed during his lifetime, it might very well have been the work of Algardi, who died in 1654 ; but in that cafe the companion buft of Alexander VIII, (Pietro Ottoboni of Venice,) elected 1689, died 1691, could not, as thefe dates fhow, have been by Algardi ; neither, if executed during the papacy of Alexander, could it have been the work of Bernini, who died in 1680. It may be, however, that both bufts were executed for the latter Pope before his accemon, when fimply Cardinal Ottoboni; the Ampler coftume of the buft of Alexander VIII, in fa£t, fomewhat favours this hypothecs. The writer is, therefore, inclined to believe that both bufts were really the work of Bernini, executed during the latter years of his life, for Cardinal Ottoboni, that of Innocent X. having been executed many years after the death of that Pope.* In fpite of the period of decline in which thefe bufts were produced they are ftill truthful and mafterly performances, admirable from a merely imitative point of view ; whilft their technical excellence as bronze caftings, tooled or chafed up with the utmoft delicacy and fpirit, can fcarcely be overrated; in this refpecl: they afford, indeed, a valuable leflbn to the modern worker in monumental bronze. * Baldinucci, "Vita del Cavaliere Gio. Lorenzo Bernini," Firenze, 1682, p. 103, in the lift of Bernini's works enumerates two feparate bufts of this Pope, who was one of the artift's warmed patrons, one in the Cafa Pamfili, the other executed for the Cafa Bernini ; he does not, however, ftate whether they were in bronze or marble. B B 1 86 Italian Sculpture. Notice of Bernini. HE Cavaliere Gio. Lorenzo Bernini, born 1598, died 1680, was born at Naples of Florentine parents ; his artiftic life, however, with the exception of a fhort interval patted in Paris, belongs entirely to the Eternal City. He was the laft of the great Italian fculptor-archite£h, and, although their refpe£tive works admit of no comparifon in point of real excellence, it is impof- fible not to acquiefce, to fome extent, in the parallel betwixt him and Michael Angelo, univerfally eftablifhed in his own day. Bernini, in fa6l, was the great reprefentative fculptor of the 17th century; like Michael Angelo, he attained to a great age. Unceafingly occupied in his art, courted and carefTed by pontiffs and kings, his career was one of uninterrupted profperity ; his perfonal character and influence, and his real and molt fertile genius, combined to lift him to a pin- nacle of fame to which probably no other artift in modern times has attained. Bernini, moreover, was the continuer of Michael Angelo's work at St. Peter's, and in his architecture, at all events, made a nearer approach towards rivalling the great Florentine than in his fculptures. In the latter we have the completer!: embodiment of the ftyle of the 17th century, a ftyle which that age itfelf unwittingly ftigmatifed by nicknames, the terms " barocco" " rococo" &c. cha- racterizing it, with a tacit ntnefs, as wanting the dignity of pre- ceding art. With Bernini Rome became, without doubt, the head- quarters of fculpture ; thither, as in the previous age to Florence, flocked the young artifts from all parts of Europe, anxious to acquire the new and fafhionable manner of the great mafter, and fo throughout Europe there was foon fpread the one all-pervading mannerifm. A fecond centre, it is true, formed itfelf in Paris under the patronage of Louis Ouatorze ; but even of this fchool Bernini was the guiding light, for Louis invited him to France and loaded him with commiflions, which he recompenfed with truly regal munificence ; and though Bernini declined to remain permanently in that country, fuch was his influence, that the rifing fculptors of the School of Verfailles foon be- came, one and all, his devoted followers. France, moreover, eftablifhed her academy on the Pincian, which foon fent forth a fucceffion of French Berninis. Happily the ftyle " barocco" and all influence of the fei-cento maeftro, have long fince faded away both in Rome and in Paris ; but the Eternal City remained thenceforth, and is to this day, the true fofter-mother of fculpture. 17th Century. The mere quantity of fculpture executed in all parts of Italy during the 17th century was enormous; it is deprefiing by its monotony and worthleffnefs in all but the mechanical qualities of art. As in every period of florid decline, a perverfe imitation of the characterises of one art in the incongruous vehicles of another was univerfally affected ; the fculptors, fervilely repeating each other, thought of nothing but copying in marble and bronze the compofitions, and even the actual pictorial effects — light, and made, and texture — of the contemporary painters in oil, who were themfelves wedded to equally vicious inno- vations in their own art. It is difficult, indeed, to decide which are the more wearifome, which the more deftitute of true aefthetic life, the huge pictures of martyrdoms and ecftacies, AfTumptions and " fa ere con- verfazioni," fometimes grim and hideous, oftener abfurdly maudlin and affected, full of figures ruftling in rumpled filks and fatins, their limbs thrown about in every variety of meaninglefs attitude ; or the ftatues fwathed in flying draperies, deftroying all truth and fimplicity of form, the kneeling, flying, dancing angels, the legions of chubby- faced cherubim, joftling each other on clouds of marble and bronze : fenfelefs allegories, in which facred and profane characters are inex- tricably mixed up, doing and exprefling nothing with frantic activity. Thefe compofe the flock productions of 17th-century fculpture. The " barocco" is fupremely inappropriate in its ecclefiaftical appli- cation ; it is radically deftitute of gravity and decorum ; it is as the fiddle and the orcheftra fuperfeding the organ and the pure-voiced chorifters of old ; and yet it is in the churches of Italy, efpecially of Rome and Naples, that its greateft achievements are to be found. Everywhere the huge altar-tombs and private chapels, frofted over with ftatues and relievos, executed at incredible coft, in the moft precious marbles and metals, atteft the oftentatious devotion of the age ; and it is melancholy to think of the innumerable works of the higheft art of earlier periods which have been rurhleffly deftroyed to make way for them. In the ornamental fculpture of gardens and villas, the fountains, vafes, terminal ftatues, &c. of this period are lefs out of character. The florid magnificence of the ftyle unqueftionably has a certain courtly propriety, and here works approaching to real excellence and good tafte may fometimes be pointed out. The only branch of 17th- century art, however, in which a true life ftill lingered was that of portrait-fculpture ; here the admirable technical dexterity of the prac- tifed academic artifts, enabled them to achieve marvels of imitative fkill, and fometimes, alfo, really true and life-like works ; but in this, as in every other branch, the works of earlier ages were on a higher 1 88 Italian Sculpture. and grander level, and we can but fay of the art of the 17th century in general, that it was an expiring flame, fometimes dazzling with a falfe glare, but always dim and feeble to thofe who in art are really able to difcern light from darknefs. Bernini may be regarded as fo complete an imperfonation of this ftyle and epoch, that the foregoing difcurfive obfervations will fcarcely be confidered out of place in a general notice of the artift himfelf. His works were fo abundant, and, as we have faid, they fo completely fet the fafhion in all parts of Europe, that any general account of the fculpture of the 17th century would, perhaps, be beft compofed by grouping it around this the moft prominent figure of the age. The following are a few of the moil confpicuous and eafily acceffible pro- ductions of Bernini : — Rome. Marble group of Apollo and Daphne in the Villa Borghefe. Executed in his eighteenth year. The bronze baldacchino, or altar-canopy, of St. Peter's. Fountain of the Piazza Barberini. Tomb of Urban VIII. in St, Peter's. Fountain of the Piazza Navona. Coloflal equeftrian ftatue of Conftantine on the ftaircafe of the Vatican. Statues on the bridge of St. Angelo, executed by fcholars from his defigns. Monument of Alexander VII. in St. Peter's. Statue of Chrift in the fubterranean chapel of the Corfini family in San Giovanni Laterano. 7620. IFE-SIZED terra-cotta buft of a Gentleman. Floren- tine fculpture; 17th century. Matter unknown. Height 1 foot 7 inches. (Gigli-Campana Collection.) From the characleriftic long hair, and general refemblance of countenance, this buft has been fuppofed to be a portrait of the cele- brated French Marfhal Turenne. jth Century, 189 6818. IFE- SIZED terra-cotta buft of Cofmo III, Grand Duke of Tufcany. Florentine 17th or early 18th century fculpture. Mafter unknown. Height 1 foot 7 inches. Cofmo III, the laft prince of the houfe of Medici, afcended the Tufcan throne in 1670, and died in 1723. The long continuance of the ancient ftyle of portrait-fculpture in terra-cotta, in Florence, is evinced in an interefting manner by this and the previous fpecimen. The feries, indeed, of thefe bufts extends, without intermiflion, from the firft half of the 15th down to the middle of the 1 8th century. Thefe two fpecimens (7620 and 6818) were probably painted to imitate marble, the practice of illuminating terra- cottas in proper colours having apparently ceafed with the earlier years of the 17th century. 7 6 55- MORINO, in a fheli, with feftoons of flowers. Model, in terra-cotta. Florentine decorative fculpture ; 17th century. Mafter unknown. Diameter 1 foot. The ftyle of the amorino recalls the type of Francois du Quefnoy, called " II Fiammingo. ,, The date of this little model, which may be deemed an early and tafteful fpecimen of the rococo^ is probably towards the end of the 17th century, if not ftill more recent. Index of Mafters and Schools. MMANATI, Barto- lommeo, Works of Notice of Baccio d'Agnolo Baccio Bandinelli Bambaia. (See Bufti.) Bandini, Giovanni . Benedetto da Rovezzano . Bernini, Gio. Lorenzo, Notice of Bufti, Agoftino Civitale, Matteo Notice Delia Quercia, Iacopo Notice . Delia Robbia, Luca and his School — Preliminary Notice Luca - Andrea . Andrea, his fons, and followers . Defiderio da Settignano . Notice Donatello Notice Ferrucci, Andrea . Notice . Florentine School, 15th and 6th Centuries Minor Works 1 6th Century Page l62 163 9 1 152 158 186 170 44 46 6 7 47 53 63 6 7 28 33 H 25 87 90 73 95 152 Francavilla, Pietro . Fries, Adrian . Genoefe School Ghiberti, Lorenzo . Notice Giovanni di Bologna Notice Italian Sculpture, Mifcellaneou 15th and 1 6th Centuries 17th Century Maiani, The . Michael Angelo Mino da Fiefole, Notice of Neapolitan School . North Italian Schools, 15th and 1 6th Centuries . 1 6th Century Pierino da Vinci Pifani, The, Notice of . Works of Pollaiuolo, Antonio Notice Raffaelle RofTellino, Antonio Notice San Gallo, Francefco di . Sanfavino, Iacopo . Verrocchio, Andrea del . Notice Page 167 t 6 7 123 9 10 164 165 126 180 81 129 90 114 170 ,56 4 42 43 149 29 33 l SS 159 36 40 Table of Reference from the Regifter Numbers of the Specimens to the pages in which they are defcribed. Number Page Number Page Number Page Number Page 362 179 4I I I ^7 4885 Il6 589O 67 4.OO I70 4I 12 *37 4887 "5 589I 31 411 119 4II3 l 37 4906 99 5892 13 412 70 4II4 136 49I I 40 5893 77 438 57 41 l6 H5 4912 170 5895 9 1 439 l 79 4II7 140 539° 116 5896 22 440 120 4II9 148 539 1 116 5897 165 442 116 4 I2I 158 5394 126 5899 45 444 128 4122 148 5395 117 5959 78 1085 101 4 ,2 3 149 5397 117 6 735 148 1088 184 4128 164 • 5399 115 6736 69 1089 185 4*34 182 5400 "5 6 737 89 1090 68 4217 119 5401 58 6738 7S IC91 163 4230 105 5422 183 6739 167 1092 164 4 2 33 30 5469 118 6740 54 1518 156 4 2 34 114 5 6 33 66 6741 66 1619 165 4 2 35 70 5767 107 6742 87 2 4 ! 3 71 4248 7i 5768 108 6743 88 2414 71 441 1 57 5769 l SS 6818 189 2555 67 4412 65 5783 20 6819 IOI 2626 157 4485 102 5786 9 6862 103 3004 2 5 4495 3 1 5788 20 6863 7 2 3348 181 4496 102 5795 3 2 6920 167 3986 67 4497 102 5796 77 6923 120 4032 58 4499 IC2 5797 1 6965 109 4065 70 +5"7 72 5798 1 6991 168 4102 81 4562 127 5799 1 7100 170 4103 152 45 6 3 7 1 5800 1 7235 6S 4104 H7 4564 126 5801 H 7 2 45 103 4105 H7 4599 100 5803 183 7253 125 4106 i37 4600 IOI 5863 184 7 2 54 124 4107 ■44 4676 122 5886 77 7255 123 4108 141 4677 70 5887 43 7256 124 4109 137 4683 121 5888 77 7257 170 41 10 137 4884 116 5889 109 7260 170 192 Table of Reference to Numbers. Number Page Number Page Number Page Number Page 735* 182 7534 121 7588 99 7627 165 7359 88 7545 I02 7589 100 7628 167 73 6 3 127 75+7 64 759O 21 7629 15 7364 127 755' 124 759 1 28 763O 63 73 6 5 3 2 755 IA 124 7S93 9 7631 80 7366 12 7551B I24 7594 12 7632 59 7367 121 7559 44 7595 *S9 7633 59 7368 121 7560 "33 7596 58 7634 59 7386 152 7561 HS 7598 42 7635 59 7388 1 12 7562 89 7599 3 6 7636 59 7389 1 12 75 6 3 2 7600 4 7£>37 59 739° 1 12 7564 5 7601 46 7638 59 7395 107 7565 H 7602 103 7639 59 7397 72 7566 3 7603 82 764O 59 7398 40 75 6 7 3 7604 106 764I 59 7402 103 7568 76 7605 21 7642 59 7403 107 7569 45 7607 18 7643 59 741 1 155 7570 3i 7608 169 7647 182 7412 21 7571 39 7609 53 7653 29 74H 69 7572 6 7610 - 54 7654 105 7417 67 7573 6 7612 109 7655 189 7418 67 7574 6 7613 7 7658 106 7419 67 7575 106 7614 66 767I 29 7420 67 7576 39 7615 66 7673 121 743 1 128 7577 H 7616 105 7674 121 7449 11 1 7578 38 7617 81 7675 121 745° 1 11 7579 29 7618 106 7676 182 745 1 2 7580 101 7619 17 7702 64 745 2 119 758i 101 7620 188 77l6 162 7473 no 7582 24 7621 99 7717 183 7502 33 7583 106 7622 108 7718 183 7527 184 7584 102 7623 168 7719 *3 7528 184 7585 18 .7624 18 7720 73 7529 180 7586 39 7625 81 7720 A 28 7530 181 7587 100 7626 127 7721 118 7531 181 1 CHISWICK PRESS : — PRINTED BY WHITTINGHAM AND WILKINS, TOOKS COURT, CHANCERY LANE. 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