DOI Page / Citation link:
https://doi.org/10.11588/diglit.61670#0209
IMPRUNETA
in
On the other side is S. Paul, alike in external of feature and
drapery to Luca’s work, yet failing in every respect to attain
the same quality. The face, so similar in type to many of
Luca’s, is feeble and vacillating in expression, the shoulders and
chest are narrow, the legs unfirmly planted, and the whole figure
so badly balanced as to give the impression that but for the
hand which seems to be clinging to the wall, it would topple
over.1 No contrast could well be greater than the concentration,
self-reliance, and vigour of the one figure, and the irresolution
and feebleness of the other. Confronted by such a contrast,
it is apparent that the two statues cannot be by the same hand.
Luca, whose fundamental qualities are strength and energy,
could never so entirely contradict his nature as to produce work
in which these qualities are conspicuous by their absence. On
the other hand, without intending to attribute weakness to
Andrea’s best work, a certain feebleness of expression and
physique is often to be found in his figures. The spiritual
qualities of Andrea’s art, as we shall see, are not so much
dignity, self-reliance and the stronger virtues, as tenderness and
mildness. It is beyond his power, however closely he may
imitate the stately forms of Luca, to animate them with Luca’s
spirit. There is marked difference also in the treatment of the
two statues, that of Luca being flatter in relief and modelled
with greater breadth of plane, that of Andrea being rounder,
and the modelling less simple and broad.
However bold it may appear to separate the work of the
two artists in so decisive a way, there seems no doubt whatever
that the figure of S. Paul is entirely executed by Andrea,
imitating the manner and possibly following the design of
Luca. We shall find the whole of the Impruneta work
divided in the same way between master and pupil.
Outside the chapel, below the grey stone cornice, runs a
broad frieze of fruits and leaves, boldly and massively modelled,
1 This hand formerly held a sword, of which only the hilt remains, but even
with that addition the balance of the figure would be little better.
in
On the other side is S. Paul, alike in external of feature and
drapery to Luca’s work, yet failing in every respect to attain
the same quality. The face, so similar in type to many of
Luca’s, is feeble and vacillating in expression, the shoulders and
chest are narrow, the legs unfirmly planted, and the whole figure
so badly balanced as to give the impression that but for the
hand which seems to be clinging to the wall, it would topple
over.1 No contrast could well be greater than the concentration,
self-reliance, and vigour of the one figure, and the irresolution
and feebleness of the other. Confronted by such a contrast,
it is apparent that the two statues cannot be by the same hand.
Luca, whose fundamental qualities are strength and energy,
could never so entirely contradict his nature as to produce work
in which these qualities are conspicuous by their absence. On
the other hand, without intending to attribute weakness to
Andrea’s best work, a certain feebleness of expression and
physique is often to be found in his figures. The spiritual
qualities of Andrea’s art, as we shall see, are not so much
dignity, self-reliance and the stronger virtues, as tenderness and
mildness. It is beyond his power, however closely he may
imitate the stately forms of Luca, to animate them with Luca’s
spirit. There is marked difference also in the treatment of the
two statues, that of Luca being flatter in relief and modelled
with greater breadth of plane, that of Andrea being rounder,
and the modelling less simple and broad.
However bold it may appear to separate the work of the
two artists in so decisive a way, there seems no doubt whatever
that the figure of S. Paul is entirely executed by Andrea,
imitating the manner and possibly following the design of
Luca. We shall find the whole of the Impruneta work
divided in the same way between master and pupil.
Outside the chapel, below the grey stone cornice, runs a
broad frieze of fruits and leaves, boldly and massively modelled,
1 This hand formerly held a sword, of which only the hilt remains, but even
with that addition the balance of the figure would be little better.