Printed byBallantyne, Hanson & Co.London & Edinburgh
Uniform with this Volume
BY
CHARLES HOLROYD
CURATOR OF THE NATIONAL GALLERY OF BRITISH ART
With Fifty-two Illustrations
"Mr. Holroyd has done excellent service. This story of a marvellous career is full of human charm.... Valuable book."—Standard.
"A serviceable and competent biography which many will be glad to see.... Numerous and excellent illustrations."—Literary World.
"A book that both the student and the general reader will find full of interest. Extremely interesting and vividly recorded."—Westminster Gazette.
"Mr. Holroyd's comprehensive study will be found useful and interesting. The illustrations are numerous and good."—Manchester Guardian.
"A really admirable picture of one who is perhaps the greatest personality in the history of Art; and a sympathetic, yet critical account of his works. Mr. Holroyd writes with knowledge and enthusiasm.... Numerous and well-executed illustrations."—Yorkshire Post.
"This excellent work ... is as suited to the general reader as to the artist. We do not find those deserts of literary speculation so common to the lives of artists."—Spectator.
"The volume gives in a convenient form almost everything that the student for whom it is intended will need to know about Michael Angelo, and will prove a safe guide to his works. The illustrations are well chosen.... We are especially grateful for the engravings of those frescoes in the Pauline Chapel which every one writes about and no one publishes."—New York Evening Post.
THE PUBLISHERS HAVE ARRANGED TO ISSUE A
IN STYLE SIMILAR TO THIS VOLUME
ALL SCHOOLS AND PERIODS will be represented, but only the Greatest Masters will emerge as Biographies. The rest will be treated in relation to their fellows and forerunners as incidents of a development.
The Series will, it is hoped, reflect the subject in its true proportions more closely than has been attempted hitherto. At the same time, the scope of the Series will admit of occasional monographs on little-known artists, when some specialist has been able to throw light by new researches on an obscure period. The æsthetic side will not be neglected, but the aim will be to make the Series a store-house of that positive knowledge which must form the basis of all opinion.
The following is a List of the Volumes now arranged for
By A.J. FINBERG
MYRON, PHEIDIASPOLYKLEITOS, SKOPAS, PRAXITELES, AND LYSIPPOS
By ERNEST GARDNER
Professor of Greek Archæology at University College, London
By Mrs. ARTHUR STRONG(Eugènie Sellers),LL.D.
By W.R. LETHABY
By PROFESSOR LANGTON DOUGLAS
By B. DE SELINCOURT
By BECKWITH SPENCER
Assistant Professor at the South Kensington School of Art
By LORD BALCARRES
[Ready.
By G.F. HILL
Of the Department of Coins and Medals in the British Museum
By G. McNEIL RUSHFORTH
Late Director of the British School at Rome
By CHARLES HOLROYD
[Ready.
By C. RICKETTS
By DR. GEORG GRONAU
By T. STURGE MOORE
By T. STURGE MOORE
By L. DIMIER
[Immediately.
[1]Gaye, Carteggio, i. 120. SeeAppendix II.A.
[1]Gaye, Carteggio, i. 120. SeeAppendix II.A.
[2]Cinelli, p. 22.
[2]Cinelli, p. 22.
[3]23, xii. 1418.
[3]23, xii. 1418.
[4]12, xii. 1408.
[4]12, xii. 1408.
[5]30, v. 1421.
[5]30, v. 1421.
[6]Osservatore Fiorentino, 1797, 3rd ed., iv. 216.
[6]Osservatore Fiorentino, 1797, 3rd ed., iv. 216.
[7]Daniel i. 15.
[7]Daniel i. 15.
[8]Semper, I., p. 132.
[8]Semper, I., p. 132.
[9]Schmarsow, p. 10.
[9]Schmarsow, p. 10.
[10]The conclusion of Dello's epitaph, as recorded by Vasari, is H.S.E.S.T.T.L.—i.e.,Hic sepultus est, sit tibi terra levis. The bas-relief of Faith in the Bargello is signed O.M.C.L.,i.e.,Opus Mattæi Civitali Lucensis. There is a manuscript of St. Jerome in the Rylands Library at Manchester in which long texts are quoted by means of the initial letters alone.
[10]The conclusion of Dello's epitaph, as recorded by Vasari, is H.S.E.S.T.T.L.—i.e.,Hic sepultus est, sit tibi terra levis. The bas-relief of Faith in the Bargello is signed O.M.C.L.,i.e.,Opus Mattæi Civitali Lucensis. There is a manuscript of St. Jerome in the Rylands Library at Manchester in which long texts are quoted by means of the initial letters alone.
[11]MS. Sketch-Book in Bibl. Naz., Florence, lettered "Ghiberti," folio 51a.
[11]MS. Sketch-Book in Bibl. Naz., Florence, lettered "Ghiberti," folio 51a.
[12]Cf.Madame André's prophet and figures on Mandorla door.
[12]Cf.Madame André's prophet and figures on Mandorla door.
[13]On the Brenzoni tomb in the Church of San Fermo: "Quem genuit Russi Florentia Tusca Johañis: istud sculpsit opus ingeniosa manus."
[13]On the Brenzoni tomb in the Church of San Fermo: "Quem genuit Russi Florentia Tusca Johañis: istud sculpsit opus ingeniosa manus."
[14]Pliny, xxxiv. 19, 3.
[14]Pliny, xxxiv. 19, 3.
[15]Bargello David.
[15]Bargello David.
[16]In 1496. See Gruyer, "Les Illustrations," 1879, p. 206.
[16]In 1496. See Gruyer, "Les Illustrations," 1879, p. 206.
[17]C. Müller, "Ancient Art and its Remains," p. 227.
[17]C. Müller, "Ancient Art and its Remains," p. 227.
[18]Pliny, xxxvi. 44.
[18]Pliny, xxxvi. 44.
[19]Printed in Richter's "Literary Works of Leonardo da Vinci," vol. i.
[19]Printed in Richter's "Literary Works of Leonardo da Vinci," vol. i.
[20]By Francis Grose, the Antiquary. London, 1788.
[20]By Francis Grose, the Antiquary. London, 1788.
[21]Edition 1768, p. 74.
[21]Edition 1768, p. 74.
[22]E.g., Milanesi, Catalogo, 1887, p. 6.
[22]E.g., Milanesi, Catalogo, 1887, p. 6.
[23]Cinelli's edition, 1677, p. 45.
[23]Cinelli's edition, 1677, p. 45.
[24]Raffaelle Mengs, Collected Works. London, 1796, I., p. 132.
[24]Raffaelle Mengs, Collected Works. London, 1796, I., p. 132.
[25]Printed in Vasari, Lemonnier Ed., 1846, vol. i.
[25]Printed in Vasari, Lemonnier Ed., 1846, vol. i.
[26]In Introduction to his translation of Tacitus.
[26]In Introduction to his translation of Tacitus.
[27]Discourses, 1778, p. 116.
[27]Discourses, 1778, p. 116.
[28]They were standing as late as 1768. Baldinucci, p. 79.
[28]They were standing as late as 1768. Baldinucci, p. 79.
[29]Memoriale, 1510.
[29]Memoriale, 1510.
[30]Cinelli ed., p. 66.
[30]Cinelli ed., p. 66.
[31]Bocchi, 1765 ed., p. 128.
[31]Bocchi, 1765 ed., p. 128.
[32]Spira il volto divozione e Santità, Cinelli, p. 66.
[32]Spira il volto divozione e Santità, Cinelli, p. 66.
[33]Gualandi, "Memorie," Series 4, p. 106.
[33]Gualandi, "Memorie," Series 4, p. 106.
[34]"Eccelenza della Statua del San Giorgio di Donatello," 1571.
[34]"Eccelenza della Statua del San Giorgio di Donatello," 1571.
[35]Bellezze, 1677, p. 67.
[35]Bellezze, 1677, p. 67.
[36]"La Sculpture Florentine," vol. ii. p. 91.
[36]"La Sculpture Florentine," vol. ii. p. 91.
[37]Victoria and Albert Museum, 7607, 1861.
[37]Victoria and Albert Museum, 7607, 1861.
[38]Uffizzi, frame 49.
[38]Uffizzi, frame 49.
[39]Eremitani, Padua, about 1448-50.
[39]Eremitani, Padua, about 1448-50.
[40]"Mélanges d'Histoire," p. 248.
[40]"Mélanges d'Histoire," p. 248.
[41]Introduction, i. 122.
[41]Introduction, i. 122.
[42]"Vita de' Architetti," 53.
[42]"Vita de' Architetti," 53.
[43]Ibid.151.
[43]Ibid.151.
[44]"Discourses," 1778, p. 237.
[44]"Discourses," 1778, p. 237.
[45]"Qua propter si primas et secundarias et subsecundarias vulgaris Ytalie variationes calculare velimus, in hoc minimo mundi angulo, non solum ad millenam loquele variationem venire contigerit, sed etiam at magis ultra."—De Vulg. Eloq. Lib., I., cap. x. § 8.
[45]"Qua propter si primas et secundarias et subsecundarias vulgaris Ytalie variationes calculare velimus, in hoc minimo mundi angulo, non solum ad millenam loquele variationem venire contigerit, sed etiam at magis ultra."—De Vulg. Eloq. Lib., I., cap. x. § 8.
[46]23, iv. 1448.
[46]23, iv. 1448.
[47]Vasari, iii. 247.
[47]Vasari, iii. 247.
[48]In the Capella Gondi, Santa Maria Novella.
[48]In the Capella Gondi, Santa Maria Novella.
[49]In San Giorgio Maggiore, Venice.
[49]In San Giorgio Maggiore, Venice.
[50]Borghini, Donatello's earliest work. Semper, 1406. Schmarsow, 1412. Bode, before the second journey to Rome in 1433. Reymond, 1435.
[50]Borghini, Donatello's earliest work. Semper, 1406. Schmarsow, 1412. Bode, before the second journey to Rome in 1433. Reymond, 1435.
[51]E.g., on the Or San Michele niche, round the Trinity. Verrocchio also used it on his sketch model for the Forteguerri tomb, Victoria and Albert Museum, No. 7599, 1861.
[51]E.g., on the Or San Michele niche, round the Trinity. Verrocchio also used it on his sketch model for the Forteguerri tomb, Victoria and Albert Museum, No. 7599, 1861.
[52]E.g., Pacifico tomb about 1438 and the Francesco Foscari tomb about 1457, both in the Frari.
[52]E.g., Pacifico tomb about 1438 and the Francesco Foscari tomb about 1457, both in the Frari.
[53]"Due Trattati di Benvenuto Cellini," ed. Carlo Milanesi, 1857. Ch. 6 on marble.
[53]"Due Trattati di Benvenuto Cellini," ed. Carlo Milanesi, 1857. Ch. 6 on marble.
[54]Cf.Puttion the Roman Tabernacle.
[54]Cf.Puttion the Roman Tabernacle.
[55]Bocchi, p. 316.
[55]Bocchi, p. 316.
[56]"Memoriale di molte statue e pitture della città di Firenze," 1510.
[56]"Memoriale di molte statue e pitture della città di Firenze," 1510.
[57]Or San Michele niche, San Lorenzo Evangelists.
[57]Or San Michele niche, San Lorenzo Evangelists.
[58]In the Berlin Gallery.
[58]In the Berlin Gallery.
[59]Berlin Museum.
[59]Berlin Museum.
[60]All three in Bargello.
[60]All three in Bargello.
[61]Seep. 185.
[61]Seep. 185.
[62]Bocchi, 23. Like the David, it used to live out of doors, until in 1755 Nicolaus Martelli "in aedes suas transtulit." Its base dates from 1794.
[62]Bocchi, 23. Like the David, it used to live out of doors, until in 1755 Nicolaus Martelli "in aedes suas transtulit." Its base dates from 1794.
[63]It was acquired for nine zechins in 1784. Madame André has a version in stucco, on rather a larger scale. A marble version from the Strawberry Hill Collection now belongs to Sir Charles Dilke, M.P.
[63]It was acquired for nine zechins in 1784. Madame André has a version in stucco, on rather a larger scale. A marble version from the Strawberry Hill Collection now belongs to Sir Charles Dilke, M.P.
[64]Domopera archives, 12, viii., 1412.
[64]Domopera archives, 12, viii., 1412.
[65]Ibid., 31, xii., 1407.
[65]Ibid., 31, xii., 1407.
[66]Padua, 3, iv., 1443.
[66]Padua, 3, iv., 1443.
[67]When working at Pisa in 1427. See Centofanti, p. 4.
[67]When working at Pisa in 1427. See Centofanti, p. 4.
[68]Commission for bronze Baptist for Ancona, 1422.
[68]Commission for bronze Baptist for Ancona, 1422.
[69]Contract in Orvieto archives, 10, ii., 1423.
[69]Contract in Orvieto archives, 10, ii., 1423.
[70]Domopera, 2, ix., 1429.
[70]Domopera, 2, ix., 1429.
[71]Ibid.18, iii., 1426.
[71]Ibid.18, iii., 1426.
[72]"Due Trattati," ch. xii.
[72]"Due Trattati," ch. xii.
[73]Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.
[73]Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.
[74]April 1434.
[74]April 1434.
[75]SeeAmerican Journal of Arch., June 1900.
[75]SeeAmerican Journal of Arch., June 1900.
[76]The so-called St. George in the Royal Library at Windsor has been determined by Mr. R. Holmes to be Perugino's study for the St. Michael in the National Gallery triptych. In the Uffizzi several pen-and-ink drawings are attributed to Donatello. The four eagles, the group of three peasants, the two figures seen from behind (Frame 5, No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript studies in which no specific sign of Donatello appears. The five wingedPutti(Frame 7, No. 40 f.) and the two studies of the Madonna (Frame 7, No. 38 f.) are more Donatellesque, but they show the niggling touch of some draughtsman who tried to make a sketch by mere indications with his pen. There is also a study in brown wash of the Baptistery Magdalen: probably made from, and not for, the statue. The Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle Collections) of the three Maries at the Tomb, or perhaps a fragment of a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt composition, made with very strong lines. It may be noted that the eyes are roughly suggested by circles, a mannerism which recurs in several drawings ascribed to Donatello. This was also a trick of Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.). In the British Museum there is an Apostle holding a book (No. 1860, 6. 13. 31), with a Donatellesque hand and forearm; also a Lamentation over the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings, but the positive evidence of Donatello's authorship isnil. Mr. Gathorne Hardy's drawing, which has been ascribed to Donatello, is really by Mantegna, a capital study for one of the frescoes in the Eremitani.
[76]The so-called St. George in the Royal Library at Windsor has been determined by Mr. R. Holmes to be Perugino's study for the St. Michael in the National Gallery triptych. In the Uffizzi several pen-and-ink drawings are attributed to Donatello. The four eagles, the group of three peasants, the two figures seen from behind (Frame 5, No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript studies in which no specific sign of Donatello appears. The five wingedPutti(Frame 7, No. 40 f.) and the two studies of the Madonna (Frame 7, No. 38 f.) are more Donatellesque, but they show the niggling touch of some draughtsman who tried to make a sketch by mere indications with his pen. There is also a study in brown wash of the Baptistery Magdalen: probably made from, and not for, the statue. The Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle Collections) of the three Maries at the Tomb, or perhaps a fragment of a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt composition, made with very strong lines. It may be noted that the eyes are roughly suggested by circles, a mannerism which recurs in several drawings ascribed to Donatello. This was also a trick of Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.). In the British Museum there is an Apostle holding a book (No. 1860, 6. 13. 31), with a Donatellesque hand and forearm; also a Lamentation over the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings, but the positive evidence of Donatello's authorship isnil. Mr. Gathorne Hardy's drawing, which has been ascribed to Donatello, is really by Mantegna, a capital study for one of the frescoes in the Eremitani.
[77]Uffizzi, Frame 6, No. 6347 f.
[77]Uffizzi, Frame 6, No. 6347 f.
[78]See Life by J.T. Smith, 1828.
[78]See Life by J.T. Smith, 1828.
[79]Victoria and Albert Museum, No. 7619, 1861. This sketch, which appears to have been made for the Forzori family, has been mistaken for a study for the San Lorenzo pulpit.
[79]Victoria and Albert Museum, No. 7619, 1861. This sketch, which appears to have been made for the Forzori family, has been mistaken for a study for the San Lorenzo pulpit.
[80]The niche was completed about 1424-5. There is a drawing of it in Vettorio Ghiberti's Note-book, p. 70. Landucci, in his "Diario Fiorentino," says that Verrocchio's group was placed in it on June 21, 1483.
[80]The niche was completed about 1424-5. There is a drawing of it in Vettorio Ghiberti's Note-book, p. 70. Landucci, in his "Diario Fiorentino," says that Verrocchio's group was placed in it on June 21, 1483.
[81]Cf.Payments to Andrea Moscatello, for painted and glazed terra-cotta for the Paduan altar. May 1449.
[81]Cf.Payments to Andrea Moscatello, for painted and glazed terra-cotta for the Paduan altar. May 1449.
[82]From the Residenza dell' arte degli Albergatori, and that of the Rigattieri of Florence, figured on plates xii. and xv. of Carocci's "Ricordi del Mercato Vecchio," 1887.
[82]From the Residenza dell' arte degli Albergatori, and that of the Rigattieri of Florence, figured on plates xii. and xv. of Carocci's "Ricordi del Mercato Vecchio," 1887.
[83]Cf.Payments for work on "Archi de la balconà de lo lavoriero de la +,"i.e., the crociera of the church, March 30 and April 11, 1444.
[83]Cf.Payments for work on "Archi de la balconà de lo lavoriero de la +,"i.e., the crociera of the church, March 30 and April 11, 1444.
[84]Siena Library.
[84]Siena Library.
[85]Domopera, 7, vii. 1433.
[85]Domopera, 7, vii. 1433.
[86]Cf.those high up on the Loggia de' Lanzi, or in other Tuscan towns where the climate was not more severe, but where there was less cash or inclination to replace the shields which were worn away.
[86]Cf.those high up on the Loggia de' Lanzi, or in other Tuscan towns where the climate was not more severe, but where there was less cash or inclination to replace the shields which were worn away.
[87]The marble original is now in the Bargello, and has been replaced by a bronzereplica, which occupies the old site on the Ringhiera of the Palazzo Pubblico. Lions were popular in Florence. Albertini mentions an antique porphyry lion in the Casa Capponi, much admired by Lorenzo de' Medici. Paolo Ucello painted a lion fight for Cosimo. The curious rhymed chronicle of 1459 describes the lion fights in the great Piazza ("Rer. It. Script.," ii. 722). Other cases could be quoted. Donatello also made a stone lion for the courtyard of the house used by Martin V. during his visit to Florence in 1419-20.
[87]The marble original is now in the Bargello, and has been replaced by a bronzereplica, which occupies the old site on the Ringhiera of the Palazzo Pubblico. Lions were popular in Florence. Albertini mentions an antique porphyry lion in the Casa Capponi, much admired by Lorenzo de' Medici. Paolo Ucello painted a lion fight for Cosimo. The curious rhymed chronicle of 1459 describes the lion fights in the great Piazza ("Rer. It. Script.," ii. 722). Other cases could be quoted. Donatello also made a stone lion for the courtyard of the house used by Martin V. during his visit to Florence in 1419-20.
[88]9. v. 1427. Milanesi, ii. 134.
[88]9. v. 1427. Milanesi, ii. 134.
[89]Lusini, 28.
[89]Lusini, 28.
[90]See "Arch. Storico dell' Arte," 1893, p. 209.
[90]See "Arch. Storico dell' Arte," 1893, p. 209.
[91]"De Sculptura," 1504, folio e. 1. On the other hand, the sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and artillery for the Venetian Republic.
[91]"De Sculptura," 1504, folio e. 1. On the other hand, the sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and artillery for the Venetian Republic.
[92]Op. cit.p. 70. In this drawing twoputtiare also shown holding a shield, above the monument; this has now disappeared.
[92]Op. cit.p. 70. In this drawing twoputtiare also shown holding a shield, above the monument; this has now disappeared.
[93]The effigy is placed in a niche close to the great door of the Cathedral, put there "lest the memory of so distinguished a man should perish"—"Simulacrum ejus diu neglectum, ne tanti viri memoria penitus deleretur, Politiana pietas hic collocandum curavit anno MDCCCXV." The remainder consists of a frieze now incorporated in the high altar, on either side of which stand two caryatides. The Christ Blessing is close by. Two bas-reliefs are inserted into pillars opposite the effigy.
[93]The effigy is placed in a niche close to the great door of the Cathedral, put there "lest the memory of so distinguished a man should perish"—"Simulacrum ejus diu neglectum, ne tanti viri memoria penitus deleretur, Politiana pietas hic collocandum curavit anno MDCCCXV." The remainder consists of a frieze now incorporated in the high altar, on either side of which stand two caryatides. The Christ Blessing is close by. Two bas-reliefs are inserted into pillars opposite the effigy.
[94]"Letters," Florence ed. 1741, vol. ii. 45.
[94]"Letters," Florence ed. 1741, vol. ii. 45.
[95]Donatello worked there for eighteen months. See documents in Centofanti, p. 4, &c.
[95]Donatello worked there for eighteen months. See documents in Centofanti, p. 4, &c.
[96]"... Lapides albi et discolores ad cœruleum vergente specie." Strabo, "Geog.," 1807 ed., I. v. p. 314.
[96]"... Lapides albi et discolores ad cœruleum vergente specie." Strabo, "Geog.," 1807 ed., I. v. p. 314.
[97]Louvre, No. 216. Tomb of Philippe Pot, circa 1480.
[97]Louvre, No. 216. Tomb of Philippe Pot, circa 1480.
[98]"Vita di Michael Angelo," Rome, 1553, p. 49.
[98]"Vita di Michael Angelo," Rome, 1553, p. 49.
[99]Victoria and Albert Museum, Charge to Peter. Seep. 95.
[99]Victoria and Albert Museum, Charge to Peter. Seep. 95.
[100]British Museum, Assyrian Saloon, Nos. 63-6.
[100]British Museum, Assyrian Saloon, Nos. 63-6.
[101]Bode, "Florentiner Bildhauer," p. 119.
[101]Bode, "Florentiner Bildhauer," p. 119.
[102]In the Museo Archeologico in the Castello, unnumbered.
[102]In the Museo Archeologico in the Castello, unnumbered.
[103]By Alfred Gilbert, R.A., belonging to the present Earl of Lytton.
[103]By Alfred Gilbert, R.A., belonging to the present Earl of Lytton.
[104]See Armand, "Les Médailleurs Italiens," 1887, iii. p. 3.
[104]See Armand, "Les Médailleurs Italiens," 1887, iii. p. 3.
[105]Wreaths andputtiform its decoration, and though Donatellesque, they are not by Donatello. This was pointed out as early as 1819. See "Monumenti Sepolcrali della Toscana," p. 28.
[105]Wreaths andputtiform its decoration, and though Donatellesque, they are not by Donatello. This was pointed out as early as 1819. See "Monumenti Sepolcrali della Toscana," p. 28.
[106]Bocchi, 354.
[106]Bocchi, 354.
[107]Bull., "Cum primum," § 6, "et ut in ecclesiis nihil indecens relinquatur, iidem provideant, ut capsæ omnes, et deposita, seu alia cadaverum, conditoria super terram existentia omnino amoveantur, pro ut alias statutum fuit, et defunctorum corpora in tumbis profundis, infra terram collocentur." Bullarium, 1566, vol. iv., part ii., p. 285. For the whole question of the evolution of these tombs, see Dr. von Lichtenberg's valuable book, "Das Porträt an Grabdenkmalen," Strassburg, 1902.
[107]Bull., "Cum primum," § 6, "et ut in ecclesiis nihil indecens relinquatur, iidem provideant, ut capsæ omnes, et deposita, seu alia cadaverum, conditoria super terram existentia omnino amoveantur, pro ut alias statutum fuit, et defunctorum corpora in tumbis profundis, infra terram collocentur." Bullarium, 1566, vol. iv., part ii., p. 285. For the whole question of the evolution of these tombs, see Dr. von Lichtenberg's valuable book, "Das Porträt an Grabdenkmalen," Strassburg, 1902.
[108]See "Archivio Storico dell' Arte," 1888, p. 24, &c.
[108]See "Archivio Storico dell' Arte," 1888, p. 24, &c.
[109]In Santo Stefano, Cortile di Pilato.
[109]In Santo Stefano, Cortile di Pilato.
[110]"Misc. Storica Senese," 1893, p. 30.
[110]"Misc. Storica Senese," 1893, p. 30.
[111]Seep. 171.
[111]Seep. 171.
[112]From the Duchess of Malfi, quoted in Symonds' "Fine Arts," p. 114.
[112]From the Duchess of Malfi, quoted in Symonds' "Fine Arts," p. 114.
[113]It is a bronze slab, admirably wrought and preserved, in S. Giovanni Laterano. Were it not for an exuberance of decoration, one might say that Donatello was responsible for it; the main lines certainly harmonise with his work. Simone Ghini was mistaken by Vasari for Donatello's somewhat problematical brother Simone.
[113]It is a bronze slab, admirably wrought and preserved, in S. Giovanni Laterano. Were it not for an exuberance of decoration, one might say that Donatello was responsible for it; the main lines certainly harmonise with his work. Simone Ghini was mistaken by Vasari for Donatello's somewhat problematical brother Simone.
[114]See Codex. Just. Leg. 2. Cod. de ædif. privatis. A similar law at Herculaneum had forbidden people to make more money by breaking up a house than they paid for the house itself, under penalty of being fined double the original outlay. This shows the extent of speculative destruction. Reinesius, "Synt. Inscript. Antiq.," 475, No. 2.
[114]See Codex. Just. Leg. 2. Cod. de ædif. privatis. A similar law at Herculaneum had forbidden people to make more money by breaking up a house than they paid for the house itself, under penalty of being fined double the original outlay. This shows the extent of speculative destruction. Reinesius, "Synt. Inscript. Antiq.," 475, No. 2.
[115]See his Libellus in "Rer. Gall. Script.," xiv. 313.
[115]See his Libellus in "Rer. Gall. Script.," xiv. 313.
[116]Nihil fere recognoscat quod priorem urbem repræsentet, in "De Varietate fortunæ urbis Romæ." Nov. Thes. Antiq. Rom., i. 502.
[116]Nihil fere recognoscat quod priorem urbem repræsentet, in "De Varietate fortunæ urbis Romæ." Nov. Thes. Antiq. Rom., i. 502.
[117]"Ricordi," 1544. No. 109, p. 51.
[117]"Ricordi," 1544. No. 109, p. 51.
[118]Written about 1450. "De re ædificatoria." Paris ed. 1553, p. 165.
[118]Written about 1450. "De re ædificatoria." Paris ed. 1553, p. 165.
[119]Cf.Plate 49 in "Le Rovine di Roma." "Tempio circolare." Written beside it is "Questo sie uno tempio lo quale e Atiuero(i.e.,che è presso al Tevere)dove se chauaue li prede antigha mente(i.e.,si cavavano le pietre anticamente)."
[119]Cf.Plate 49 in "Le Rovine di Roma." "Tempio circolare." Written beside it is "Questo sie uno tempio lo quale e Atiuero(i.e.,che è presso al Tevere)dove se chauaue li prede antigha mente(i.e.,si cavavano le pietre anticamente)."
[120]Vasari, "Proemio," i. 212.
[120]Vasari, "Proemio," i. 212.
[121]Cosa allora rara, non essendosi dissotterata quella abbondanza che si è fatta ne' tempi nostri, i. 203.
[121]Cosa allora rara, non essendosi dissotterata quella abbondanza che si è fatta ne' tempi nostri, i. 203.
[122]"2nd Commentary," in Vasari, I. xxviii.
[122]"2nd Commentary," in Vasari, I. xxviii.
[123]Gaye, i. 360.
[123]Gaye, i. 360.
[124]Cf.the action of the Directory in year vi. of the French Republic. They ordered the statues looted in Italy to be paraded in Paris—hoping to find the clue to ancient supremacy. Louis David pointedly observed, "La vue ... formera peut-être des savans, des Winckelmann: mais des artistes, non."
[124]Cf.the action of the Directory in year vi. of the French Republic. They ordered the statues looted in Italy to be paraded in Paris—hoping to find the clue to ancient supremacy. Louis David pointedly observed, "La vue ... formera peut-être des savans, des Winckelmann: mais des artistes, non."