DOI Page / Citation link:
https://doi.org/10.11588/diglit.61670#0216
LUCA DELLA ROBBIA
114
that of S. Luke in the opposite chapel, but is even more con-
centrated and keen. The whole figure seems to vibrate with
tense life and energy. In the lifeless statue opposite we
have the same type of face, the same features, the same promi-
nent cheek-bones, the same arrangement of the beard. We
have Luca’s simple draperies, and this time, also, his massively
constructed frame. But the expression of the face is weak
and vacant, the limbs are flaccid and inert. The entire figure
is mechanical, stiff, and lifeless, the work of a man imitating
forms with which he has little real sympathy. Evidently
again we have in this S. Augustine Andrea working after the
design of Luca.
The Predella below is by Luca himself, and is one of
his most beautiful reliefs. If it should appear strange that
while leaving parts, apparently of more importance, to his
pupil, Luca should himself have executed the subordinate
part, it must be remembered that in its original state this
Predella with its shrine was the principal part and focus of
the Tabernacle, the receptacle of the Holy Sacrament which
the whole altarpiece was executed to enclose. Of the altera-
tion from its original purpose we shall speak presently.
On either side of the small door of the shrine float four
angels, those nearest in subdued adoration, those beyond with
more animated gesture, as though beckoning others to come
and worship. The graceful buoyant forms with scythe-like
sweep of wing recall again the angels of Ghiberti. They seem
actually to float in the deep blue ether. Rarely has Luca
surpassed the beauty of these figures with their earnestness and
ethereal grace.
The enamel is much broken, injuries probably received
from contact with the jars, candlesticks, and trumpery orna-
ment by which this most exquisite relief is completely hidden
from sight. No eye but the student’s, aware beforehand of
the treasures concealed behind the dusty paper flowers, obtains
even a glimpse of it. Charming and appropriate as is the
114
that of S. Luke in the opposite chapel, but is even more con-
centrated and keen. The whole figure seems to vibrate with
tense life and energy. In the lifeless statue opposite we
have the same type of face, the same features, the same promi-
nent cheek-bones, the same arrangement of the beard. We
have Luca’s simple draperies, and this time, also, his massively
constructed frame. But the expression of the face is weak
and vacant, the limbs are flaccid and inert. The entire figure
is mechanical, stiff, and lifeless, the work of a man imitating
forms with which he has little real sympathy. Evidently
again we have in this S. Augustine Andrea working after the
design of Luca.
The Predella below is by Luca himself, and is one of
his most beautiful reliefs. If it should appear strange that
while leaving parts, apparently of more importance, to his
pupil, Luca should himself have executed the subordinate
part, it must be remembered that in its original state this
Predella with its shrine was the principal part and focus of
the Tabernacle, the receptacle of the Holy Sacrament which
the whole altarpiece was executed to enclose. Of the altera-
tion from its original purpose we shall speak presently.
On either side of the small door of the shrine float four
angels, those nearest in subdued adoration, those beyond with
more animated gesture, as though beckoning others to come
and worship. The graceful buoyant forms with scythe-like
sweep of wing recall again the angels of Ghiberti. They seem
actually to float in the deep blue ether. Rarely has Luca
surpassed the beauty of these figures with their earnestness and
ethereal grace.
The enamel is much broken, injuries probably received
from contact with the jars, candlesticks, and trumpery orna-
ment by which this most exquisite relief is completely hidden
from sight. No eye but the student’s, aware beforehand of
the treasures concealed behind the dusty paper flowers, obtains
even a glimpse of it. Charming and appropriate as is the