The Evolution of Italian Sculpture
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It was on this very point that Michael Angelo made a strange and almost incomprehen- sible criticism about Donatello's work. The faithful Condivi, who probably wrote under his master's supervision, says that, much as Michael Angelo admired Donatello, he had one source of complaint against him, namely his lack of patience in polishing statues, which reduced their value when examined at close quarters.^ For such a view to have emanated from Michael Angelo of all people, even taking the San Lorenz...o pulpits into account, is surprising. But finish and polishing were de r^gle : then as now nothing was more popular than what is called admirable detail. In the con- tract for the Piccolomini altar at Siena in 1501, a work in which Michael Angelo took a share, it is stipulated that the statues were to be better finished than those " nowadays customary in Rome." There is something almost comic in the early panegyric of certain frescoes in the Castello at Pavia, which were so highly varnished that one could see oneself reflected on the surface of the paint.^ Unfinished sculpture is on the whole rare, since the block could always be used 1 " Vita di Michel Angelo," Rome 1553, page 14.
What to read after The Evolution of Italian Sculpture?
You can find similar books in the "Read Also" column, or choose other free books by Crawford, David Lindsay, Earl Of, 1871-1940 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
It was on this very point that Michael Angelo made a strange and almost incomprehen- sible criticism about Donatello's work. The faithful Condivi, who probably wrote under his master's supervision, says that, much as Michael Angelo admired Donatello, he had one source of complaint against him, namely his lack of patience in polishing statues, which reduced their value when examined at close quarters.^ For such a view to have emanated from Michael Angelo of all people, even taking the San Lorenz...o pulpits into account, is surprising. But finish and polishing were de r^gle : then as now nothing was more popular than what is called admirable detail. In the con- tract for the Piccolomini altar at Siena in 1501, a work in which Michael Angelo took a share, it is stipulated that the statues were to be better finished than those " nowadays customary in Rome." There is something almost comic in the early panegyric of certain frescoes in the Castello at Pavia, which were so highly varnished that one could see oneself reflected on the surface of the paint.^ Unfinished sculpture is on the whole rare, since the block could always be used 1 " Vita di Michel Angelo," Rome 1553, page 14.
What to read after The Evolution of Italian Sculpture?
You can find similar books in the "Read Also" column, or choose other free books by Crawford, David Lindsay, Earl Of, 1871-1940 to read onlineMoreLess
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