Page:The New International Encyclopædia 1st ed. v. 17.djvu/795

SCUL-PTITRE. 721 SCULPTURE. (died 1320) gnuluiilly evolved a style, the cliiof charaeteiisties of which were iiiUuialism ami diaiiiatie, even oxtiava<?aiit action. It was, iiulceil, an indepi'iiilcnt viT>i(in of llic Ciothic style, with its strong religions and allegorical elements, that he introduce<l into Italy. His in- fluence was decisive upon Italian art. Inde- pendent schools of sculiilure arose at Florence and Siena, and branches of the Pisan school were eslablisheil at Milan and Naples durinp; the four- teenth century. At Florence Andrea Pisano'a (d. c.l;Uil) reliefs on Giotto's. Campanile and other works show a hi<»her tlevelopment of symbolisni. more perfect technique, simpler composition, and more re- strained action than Giovanni's. He jjerfected the hitherto crude art of casting bronze in relief to the highest extent attained before the Kenais- sance. Andrea's sons found employment at Pisa, but his successor at Florence was Andrea Orcagna, (d. 1.368). Although more extensively occupied with painting and architecture tlian with sculpture, his worlv is in some respects an advance upon that of Andrea Pisano. The lieau- tiful tabernacle of Orsanmichcle shows him more picturesque and dramatic in st.yle, richer in com- position, and grander in form, but a trifle in- ferior in detail and with less sense for the sig- nificant. The Sienese school was inferior to the Florentine during this epoch, being rather pic- turesque and narrative in character, without a true understanding of form. Its chief works are the sculptures on the fagades of the cathedrals at Siena and Orvieto, the latter probably de- signed by ilaitani. ami the most important work of its kind in Italy. E.RLY Renai.ssance. As in painting and in architecture, the Renaissance (q-v. ) opened a new- world in sculpture. The sources of inspiration were the same as in painting, viz. the study of nature and of the antique, with this difference, that in sculpture the influence of the antique was stronger, owing to the survival of antique statuary. But although the antique from the beginning made itself strongly felt in decoration, and furnished motives, sometimes even figures, to the sculptor, it did not materially influence the general treatment, line or modeling, the prevail- ing characteristic of which, during the Early Renaissance, was a healthy naturalism. In re- lief, as in statuary, the highest ilevelopment was attained ; in the former, indeed, some of the qualities of painting, such as the use of color and perspective, were adopted, ilarble back- grounds, when not sculjitured. were painted blue: other parts, like hair and angels' wings, were gilded, as were usually bronzes, while terra- cottas were colored to rival painting itself. The art of sculpture, which in the preceding cen- turies had been mainly a Tuscan product, now became essentially Florentine. In Florence the beginnings of the new move- ment appeared toward the end of the fourteenth century in the works of such sculptors as Piero di Giovanni Tedesco. which, though still Gothic, display a new naturalism; and somewhat later in those of Nanni di Banco (d. 1420), showing both naturalism and a remarkable resemblance to Roman portrait statues. The Renaissance achieved a complete victory in the works of Ghiberti, Donatello. and Luca della Robbia — the principal figures in the first half of the fifteenth century. Lorenzo Ghiberti (137S-145i)) was es- sentially a g(d<lsniitli, achieving liis liiglieat triumphs in this art and in bronze relief, in wlii<'h he attained thi' highest perfection. His first doors of the Florentine Unptisiery, com- pared with . drea I*i>ano's, show the advance of the new art in naturalistic treatment, beauty of form and grace of draperies, richer composi- tion and skill in ndief; his famous '•Paradise Portals" show besides a masterly treatment of sculptural perspective, in which be surpassed all contemporaries. See I'late UJuler GuriiKBTl. The greatest sculptor of the Kurly Renais- sance, and, indeed, one of the gr<'atest of all times, was Donatello ( c.l:!S(i-14(>(i) . Although leavened by the antique, his art was realism of the highest type; he sought the characteristi<-. even at the sacrifice of beauty. He uiulerslood perfectly the handling of the materials, achieving the highest effects, whether in marble or in bronze, and lie was equally good in statuary or relief. His art dominated Italian sculpture till the advent of •Michelangelo. Miclielozzi ( 13!)1-I472) . his asso- ciate. exccUed as a bronze-founder, but shows in his own designs a talent sullicienlly mediocre. The art of Luca della Uobbia ( Kill'.)- 1482) was midway between that of Donatello an<l Ghiberti, uniting charm of color with beauty of form. His best known achievements are in the cele- brated terra-cotta ware which he invented, but in his "Singing Galleries" and other works he showed equal mastery over marble, especially in composition, and he also worked with some suc- cess in brotize. His nephew Andrea <lella Kobbia (1437-1.t2S) introduced terracottas into the smaller towns of Italy, and. though more senti- mental and less dignified than Luca, he produced very grac<'ful works. Other members of the faniilv carried on the art for a century and a half. ■ During the second half of the fifteenth century the demand for sculpture continued in the main ecclesiastical, and gave occasion for numbers of tombs, pulpits. taberna(des, and friezes. Dona- tello's principal pupil was . drca del Verrocchio (1435-88), originally a goldsmith, who worked chiefly in bronze. Though nmrc angular than his master's, his art is powerful and shows a high sense of beauty. In the statue of Bartoloninieo Colleoni at Venice he produced the finest eques- trian statue of the Renaissance, if not of all times. Another bronze worker of importance was Antonio Pollajuolo (1420-08). whose art. like Verrocchio's. was angular and realistic, but was without his sense of beauty. The marble work- ers of the later fifteenth century sought to com- bine beauty of form and charm of presentation with Donatello's naturalism. Desidcrio da Set- tignano (1428-64) added elegance and harmony to Donatello's realism, and did decorative work of the highest order. Bernardo Rossellino (1400-64), though lacking in originality, excelled in architectural arrangement and in his tomb of Leonardo Bruni (Santa Croce) created a model for the Early Renaissance. Antonio Kos- s(dlino (1427-78). his younger brother, shows rather the influence of Desiderio in the delicacy and charm of his work. Benedetto da Majano (1442-07), the celebrated architect, continued the same tendencies as a sculptor, and in the jjulpit at Santa Croce, the most beautiful of the Renaissance, he solved the problem of perspec- tive in marble-carving. Mino da Fiesole (1431- 84) is widely known because of the large number