DOI Page / Citation link:
https://doi.org/10.11588/diglit.61670#0179
3
FEDERIGHI TOMB 95
are traces of the gold still to be seen, which accentuated the
embroidered patterns, but which is now happily worn almost
away.
Almost like a contrast to the beauty of this noble figure,
is the Pieta carved on the background above it, among the
stiffest and poorest of Luca’s sculptures. The figure of S.
John is especially tame and conventional, and his gesture as
jerky as that of an articulated puppet. The introduction of
the scene, a symbolic rather than an artistic addition, so
disturbing in its dramatic character to the repose of the
monument, was probably an annoyance to Luca, his treatment
in consequence falling below his usual high standard.
Of great beauty are the two floating angels on the Sarco-
phagus who bear the garland of olives which frames the
inscription. They have the closest affinity with Ghiberti’s,
especially those on the Reliquaries of S. Zenobio and of S.
Hyacinth, and have the same buoyancy, the same graceful
line of draperies, and the large scythe-like wings peculiar to
Ghiberti; only the draperies cover strong and supple limbs,
and the pinions support a solid weight of body, buoyant
though it be.
The marble tomb is surrounded by a broad border of
enamelled terra-cotta, of great beauty of design and colour.
The border is in itself most delicate and charming, and in
the decoration of a boudoir would be of incomparable value,
with its daintily painted flowers—roses, lilies, and marigolds,
fitted into a mosaic of greenish tint once heavily gilded. The
introduction, however, of a framework thus detailed and
light, in a work so stately and solemn, is—to my mind at
least—an artistic error. Daintiness and bright colour, such
as in this ornament, seem out of place enclosing so tragic a
figure, besides detracting from the unity of the general effect.
These elaborately painted tiles, however exquisite in them-
selves, seriously interfere with the breadth and massive dignity
of the sculpture.
FEDERIGHI TOMB 95
are traces of the gold still to be seen, which accentuated the
embroidered patterns, but which is now happily worn almost
away.
Almost like a contrast to the beauty of this noble figure,
is the Pieta carved on the background above it, among the
stiffest and poorest of Luca’s sculptures. The figure of S.
John is especially tame and conventional, and his gesture as
jerky as that of an articulated puppet. The introduction of
the scene, a symbolic rather than an artistic addition, so
disturbing in its dramatic character to the repose of the
monument, was probably an annoyance to Luca, his treatment
in consequence falling below his usual high standard.
Of great beauty are the two floating angels on the Sarco-
phagus who bear the garland of olives which frames the
inscription. They have the closest affinity with Ghiberti’s,
especially those on the Reliquaries of S. Zenobio and of S.
Hyacinth, and have the same buoyancy, the same graceful
line of draperies, and the large scythe-like wings peculiar to
Ghiberti; only the draperies cover strong and supple limbs,
and the pinions support a solid weight of body, buoyant
though it be.
The marble tomb is surrounded by a broad border of
enamelled terra-cotta, of great beauty of design and colour.
The border is in itself most delicate and charming, and in
the decoration of a boudoir would be of incomparable value,
with its daintily painted flowers—roses, lilies, and marigolds,
fitted into a mosaic of greenish tint once heavily gilded. The
introduction, however, of a framework thus detailed and
light, in a work so stately and solemn, is—to my mind at
least—an artistic error. Daintiness and bright colour, such
as in this ornament, seem out of place enclosing so tragic a
figure, besides detracting from the unity of the general effect.
These elaborately painted tiles, however exquisite in them-
selves, seriously interfere with the breadth and massive dignity
of the sculpture.