DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61670#0246
CHAPTER IX
LOST WORKS AND WORKS ATTRIBUTED TO LUCA
Though the number of Luca’s sculptures remaining to us,
and the infinite care and delicacy of the work itself, is a
magnificent record of his energy and diligence, yet we know
that they do not represent all his life’s work, several important
sculptures of which we have the record having been either
lost or destroyed. The following list of such works may be
of interest.
In 1434 he was commissioned, together with Donatello,
by the authorities of S. Maria del Fiore, to model a colossal
head, to be executed afterwards in bronze or marble for the
decoration of the Cupola (Doc. iii.). Of this we hear nothing
further, and do not certainly know if the commission was
carried out.
The two angels or putti of gilded bronze, due Angell nudi,
Vasari calls them, which he made for the balustrade of the
Cantoria, were still in their place in the time of Baldinucci,
who mentions them.1 It is probable that they were either
laid by, or perhaps even melted down, at the destruction of
the Cantoria in 1688; in the former case it is possible they
may still be hidden away in some neglected cellar of the
Cathedral.
In 1449 he executed a child-angel to be placed over the
door of the judge’s chamber in the Palazzo de’ Priori, Florence.2
Antonio Billi, the Anonymo Magliabecchiano, and after
1 Notizie, v. 218.
2 See Milanesi, “ Prospetto Cronologico,” Vasari, ii. 201. This is one of
Milanesi’s assertions, for which doubtless he had documentary proof, but for
which he unfortunately gives no authority.
128
LOST WORKS AND WORKS ATTRIBUTED TO LUCA
Though the number of Luca’s sculptures remaining to us,
and the infinite care and delicacy of the work itself, is a
magnificent record of his energy and diligence, yet we know
that they do not represent all his life’s work, several important
sculptures of which we have the record having been either
lost or destroyed. The following list of such works may be
of interest.
In 1434 he was commissioned, together with Donatello,
by the authorities of S. Maria del Fiore, to model a colossal
head, to be executed afterwards in bronze or marble for the
decoration of the Cupola (Doc. iii.). Of this we hear nothing
further, and do not certainly know if the commission was
carried out.
The two angels or putti of gilded bronze, due Angell nudi,
Vasari calls them, which he made for the balustrade of the
Cantoria, were still in their place in the time of Baldinucci,
who mentions them.1 It is probable that they were either
laid by, or perhaps even melted down, at the destruction of
the Cantoria in 1688; in the former case it is possible they
may still be hidden away in some neglected cellar of the
Cathedral.
In 1449 he executed a child-angel to be placed over the
door of the judge’s chamber in the Palazzo de’ Priori, Florence.2
Antonio Billi, the Anonymo Magliabecchiano, and after
1 Notizie, v. 218.
2 See Milanesi, “ Prospetto Cronologico,” Vasari, ii. 201. This is one of
Milanesi’s assertions, for which doubtless he had documentary proof, but for
which he unfortunately gives no authority.
128