DOI Page / Citation link:
https://doi.org/10.11588/diglit.61670#0191
ARMS OF RENE D’ANJOU ioi
side, spinous and strong like the pinions of an eagle, the
tongues of flame shoot up from the braziers, darting their
points and scattering their sparks like wind-shaken embers.
The whole work is as vivid with flash and flicker as the
fire-music of the Gotterddmm erung, and around all this scin-
tillating movement flows rhythmically and tranquilly the
beautiful garland of leaves and fruits, seeming to confine and
restrain the fierce blaze of the flames it encloses.
Since this is without comparison the finest of the garlands
which are so original and beautiful a feature of Luca’s art,
it will not be out of place to analyse for a moment his peculiar
treatment of them, and wherein they differ from the imita-
tions of Giovanni and the later school. We have already
observed his method of composing the leaves and fruits, so
that they shall carry the eye without interruption around
the enclosed space, each fruit and stem and leaf being arranged
with this purpose, the strongest accent, like the current of a
stream, being kept steadily in the centre, while sprays and
leaf-points, like little ripples, break over the edge on either
side. With this flowing effect in view the relief is kept
rigidly low, the fruits hardly allowed to project above the
leaves in which they nestle, or if they do, their natural saliency
is considerably flattened. However natural Luca’s treatment
of vegetation may appear at first sight, it is far from being
realistic. Each fruit and flower and leaf is modelled with a
care and truth no botanist could find fault with, but the
artist has conventionalized and adapted them to his purpose.
Nothing illustrates this so clearly as the contrast between the
garlands of Luca and of Giovanni, which, though less carefully
studied and true in detail, are treated with greater realism,
the projection and boss of the fruits being imitated, whereas
Luca’s fruits have as little weight as his flowers. The flowing
quality of Luca’s garlands, by which they fulfil their purpose
as a frame, guiding the eye round the enclosed work, never
obtrusive or final, was not comprehended by his successors
side, spinous and strong like the pinions of an eagle, the
tongues of flame shoot up from the braziers, darting their
points and scattering their sparks like wind-shaken embers.
The whole work is as vivid with flash and flicker as the
fire-music of the Gotterddmm erung, and around all this scin-
tillating movement flows rhythmically and tranquilly the
beautiful garland of leaves and fruits, seeming to confine and
restrain the fierce blaze of the flames it encloses.
Since this is without comparison the finest of the garlands
which are so original and beautiful a feature of Luca’s art,
it will not be out of place to analyse for a moment his peculiar
treatment of them, and wherein they differ from the imita-
tions of Giovanni and the later school. We have already
observed his method of composing the leaves and fruits, so
that they shall carry the eye without interruption around
the enclosed space, each fruit and stem and leaf being arranged
with this purpose, the strongest accent, like the current of a
stream, being kept steadily in the centre, while sprays and
leaf-points, like little ripples, break over the edge on either
side. With this flowing effect in view the relief is kept
rigidly low, the fruits hardly allowed to project above the
leaves in which they nestle, or if they do, their natural saliency
is considerably flattened. However natural Luca’s treatment
of vegetation may appear at first sight, it is far from being
realistic. Each fruit and flower and leaf is modelled with a
care and truth no botanist could find fault with, but the
artist has conventionalized and adapted them to his purpose.
Nothing illustrates this so clearly as the contrast between the
garlands of Luca and of Giovanni, which, though less carefully
studied and true in detail, are treated with greater realism,
the projection and boss of the fruits being imitated, whereas
Luca’s fruits have as little weight as his flowers. The flowing
quality of Luca’s garlands, by which they fulfil their purpose
as a frame, guiding the eye round the enclosed work, never
obtrusive or final, was not comprehended by his successors