Renaissance Fancies and Studies: Being a Sequel to EuphorionLee, Vernon
History
Renaissance Fancies and Studies: Being a Sequel to Euphorion
Lee, Vernon
Art, Italian; Art, Renaissance -- Italy
Among the paintings of contemporary artists, the one which at that time
afforded Domenico the most unmingled satisfaction was Pollaiolo's tiny
panel of Hercules and the Hydra. There! You might cover it with the palm
of your hand; but in that hand you would be holding the concentrated
strength and valour of the world, the true son of Jove, the most beautiful
muscles that ever were seen! At least the most beautiful save in the
statues of Donatello; for, of course, Donato was the greatest craftsman
that had ever lived; and Domenico spoke of him as, in Vasari's day, men
were to speak of Michelangelo.
For I ask you, who save an angel in human shape could have modelled that
David, so young and triumphant and modest, treading on Goliath's head,
with toes just slightly turned downwards, and those sandals, of truly
divine workmanship? And that St. John in the Wilderness--how beautiful
are not his ribs, showing under the wasted pectoral muscles; and how one
sees that the _radius_ rolls across the _ulna_ in the forearm; surely
one's heart, rather than the statue, must be made of stone if one can
contemplate without rapture the exquisite rendering of the texture where
the shin-bone stands out from the muscles of the leg. Such must have
been the works of those famous Romans and Greeks, Phidias and Praxiteles.
Such were the notions of Domenico of Volterra in the earlier part of his
career. For a change came gradually upon him after his first visit to
Rome, whither, about 1480, he accompanied Botticelli, Rosselli, and
Ghirlandaio, whom His Beatitude Pope Sixtus had sent for to decorate the
new chapel of the palace.
II
We must not be deluded, like Domenico Neroni during his Florentine days,
into the easy mistake of considering mere realism as the veritable aim
of the art of his days. Deep in the life of that art, and struggling
for ever through whatever passion for scientific accuracy, technical
skill, or pathetic expression, is the sense of line and proportion, the
desire for pattern, growing steadily till its triumph under Michelangelo
and Raphael.
Public-domain text, read in full here on John Shaqi.
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