Identifier: donatello00meye (find matches)
Title: Donatello
Year: 1904 (1900s)
Authors: Meyer, Alfred Gotthold Konody, Paul G. (Paul George), 1872-1933
Subjects: Donatello, 1386?-1466
Publisher: Bielefeld and Leipzig : Velhagen & Klasing
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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for scenes like these repeat themselves at all times and inall places, where an unspoilt race of men grows up. And yet art has only-recognized this in the antique and in the renaissance; and in the latternone like Donatello! Extrinsically, as far as their garment is concerned,these putti partly resemble those of the Roman tabernacle and of theLondon pieta reUef. But even the costume is differenciated. A girdle, alittle cloak and a veil-like wrap are added to the tunic. The object wasevidently to increase and vary the animated, fluttering forms. The sameend is served by the exposure of the plump limbs, which increases on theleft side of the pulpit. Some of these boys are quite nude; but eventhese have neither graceful forms, nor Hquid outlines, and among all theselaughing, singing, jubilating faces not a single one shows the lovelinessof a childs delicate physiognomy, like, say the boy St. John of the Bargello.The animal rises above the a?ii>na. The putto of antiquity is reawakened
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Fig. 79. Dancing Putti on the Singing Gallery of the Duomo in Florence. Cf. Fig. 77. (To page < 87 in somewhat boorish, but thoroughly healthy force. And this force, withall its wildness suggestive of lion cubs, moves in the smallest, narrow, flatspace. Consider, what the clear distribution of such an abundance of ani-mated forms means under these conditions! The means for awakening theillusion of space are already known from earlier reliefs. They consist otthe contrasts of movement between those figures which detach themselvesfrom, and those which recede into the plane. But they have never beforebeen as full of energy, as they are now. They dance and jump, storm

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