DOI Page / Citation link:
https://doi.org/10.11588/diglit.61670#0108
6o
LUCA DELLA ROBBIA
under the full sway of Donatello, depicting gesture and emo-
tion with as vigorous an energy and as little reserve. The
figures seem representative of Dialectics rather than Philo-
sophy, but in either case they are intended to offer contrast
to the tranquillity of the two scientists. They seem to vibrate
with the excitement of dispute. The action is most natural.
One has but this moment flung his mantle over his shoulder
that his hands may be freer for gesticulation, and the folds
still whirl with the wind caught by them as they were swung
backwards. The keen intelligence of the faces, the vehemence
of gesture, are rendered with vivid realism. It is useful to
have the proof afforded by this sculpture that the tranquillity
of Luca’s usual manner is due to no lack of power in portray-
ing emotion.
Grudging as it may seem to point out any defect in a work
of so much science and beauty, it must be noticed that here
(for the first and only time that has come under my observa-
tion), Luca is guilty of an error in draughtsmanship. The
advanced leg of the bearded figure, proved by the foot to be
the left, cannot be connected under the draperies with the
thigh to which it ought to belong, but seems actually to be
attached to the right leg, giving a very awkward effect. The
fault is a curious lapse from Luca’s usual scientific accuracy in
dealing with form, and his attention to the limbs beneath the
draperies.
Last of the series is the so-called Grammar^ one of the
most beautiful of Luca’s sculptures, combining all the tech-
nical excellences of his work with his peculiar qualities of
dignity and sweetness. The stately figure of Donatus chosen
as the representative Grammarian, the intellectual strength and
mildness of his face, seem an embodiment of Luca’s own per-
sonal characteristics, just such a blending of mental ability, of
stateliness and humanity as we attribute to himself. The boy who
sits taking notes of the discourse with his tablet on his knee,
recalls the charming figures of the Choristers of the Cantoria,
LUCA DELLA ROBBIA
under the full sway of Donatello, depicting gesture and emo-
tion with as vigorous an energy and as little reserve. The
figures seem representative of Dialectics rather than Philo-
sophy, but in either case they are intended to offer contrast
to the tranquillity of the two scientists. They seem to vibrate
with the excitement of dispute. The action is most natural.
One has but this moment flung his mantle over his shoulder
that his hands may be freer for gesticulation, and the folds
still whirl with the wind caught by them as they were swung
backwards. The keen intelligence of the faces, the vehemence
of gesture, are rendered with vivid realism. It is useful to
have the proof afforded by this sculpture that the tranquillity
of Luca’s usual manner is due to no lack of power in portray-
ing emotion.
Grudging as it may seem to point out any defect in a work
of so much science and beauty, it must be noticed that here
(for the first and only time that has come under my observa-
tion), Luca is guilty of an error in draughtsmanship. The
advanced leg of the bearded figure, proved by the foot to be
the left, cannot be connected under the draperies with the
thigh to which it ought to belong, but seems actually to be
attached to the right leg, giving a very awkward effect. The
fault is a curious lapse from Luca’s usual scientific accuracy in
dealing with form, and his attention to the limbs beneath the
draperies.
Last of the series is the so-called Grammar^ one of the
most beautiful of Luca’s sculptures, combining all the tech-
nical excellences of his work with his peculiar qualities of
dignity and sweetness. The stately figure of Donatus chosen
as the representative Grammarian, the intellectual strength and
mildness of his face, seem an embodiment of Luca’s own per-
sonal characteristics, just such a blending of mental ability, of
stateliness and humanity as we attribute to himself. The boy who
sits taking notes of the discourse with his tablet on his knee,
recalls the charming figures of the Choristers of the Cantoria,