DOI chapter:
Chapter V: S. Lorenzo
DOI Page / Citation link:https://doi.org/10.11588/diglit.62110#0121
S. LORENZO
73
Vasari * and the Anonimo Magliabecchiano both speak of
it as the combined work of Donatello and Verrocchio, the
latter specifying the parts executed by Andrea to be “ the
falcon and other ornaments around.1’ f Richa, writing in
1757, speaks of it as being entirely the work of Donatello. 7
The critics of our own day are unanimous in attributing
part at least to Verrocchio, several however considering
the background to be by Rossellino. As in the case of
the Baptism, it would seem as though this arbitrary divi-
sion of the work is due to the suggestion of tradition,
for both basin and background are too homogeneous in
design to doubt that, if not executed by the same hand,
they are at least due to the same brain.
This design is very characteristic of Verrocchio in its
use of coloured marbles—red porphyry and green ser-
pentine—and the introduction of animal form in the
decoration in preference to the putti and garlands of the
Donatellesques. The sculpture is almost like a hunts-
man’s trophy with the savage boars’ heads, the twisted
serpent-tails, the bat wings, the lion’s mask, the dolphins,
the female-headed dragon below, the fierce falcon above.
Donatello composed no design without his favourite putti,
while the suave decorations of Rossellino are completely
opposed to these sharp and energetic forms. For a basin
*Dn his Life of Donatello, Vasari writes, “Fece” (Donatello)
" nella sagrestia di S. Lorenzo un lavamani di marmo nel quale lavora
parimento Andrea Verrocchio.” Vasari, ii. 414.
t “ Fece anchora ” (Donatello) “ un vaso da lavare le manj, hoggi
nella sagrestia di S. Lorenzo, opera bellissima con il falchone ed altrj
hornamenti intorno di mano d’Andrea del Verrocchio.” (Fabriczy,
Il Codice dell’ Anonimo Gaddiano. Firenze, 1893, p. 52.)
J Richa, Notizie Istoriche delle Chiese fiorentine. Firenze, 1757.
S. Lorenzo, p. 39.
73
Vasari * and the Anonimo Magliabecchiano both speak of
it as the combined work of Donatello and Verrocchio, the
latter specifying the parts executed by Andrea to be “ the
falcon and other ornaments around.1’ f Richa, writing in
1757, speaks of it as being entirely the work of Donatello. 7
The critics of our own day are unanimous in attributing
part at least to Verrocchio, several however considering
the background to be by Rossellino. As in the case of
the Baptism, it would seem as though this arbitrary divi-
sion of the work is due to the suggestion of tradition,
for both basin and background are too homogeneous in
design to doubt that, if not executed by the same hand,
they are at least due to the same brain.
This design is very characteristic of Verrocchio in its
use of coloured marbles—red porphyry and green ser-
pentine—and the introduction of animal form in the
decoration in preference to the putti and garlands of the
Donatellesques. The sculpture is almost like a hunts-
man’s trophy with the savage boars’ heads, the twisted
serpent-tails, the bat wings, the lion’s mask, the dolphins,
the female-headed dragon below, the fierce falcon above.
Donatello composed no design without his favourite putti,
while the suave decorations of Rossellino are completely
opposed to these sharp and energetic forms. For a basin
*Dn his Life of Donatello, Vasari writes, “Fece” (Donatello)
" nella sagrestia di S. Lorenzo un lavamani di marmo nel quale lavora
parimento Andrea Verrocchio.” Vasari, ii. 414.
t “ Fece anchora ” (Donatello) “ un vaso da lavare le manj, hoggi
nella sagrestia di S. Lorenzo, opera bellissima con il falchone ed altrj
hornamenti intorno di mano d’Andrea del Verrocchio.” (Fabriczy,
Il Codice dell’ Anonimo Gaddiano. Firenze, 1893, p. 52.)
J Richa, Notizie Istoriche delle Chiese fiorentine. Firenze, 1757.
S. Lorenzo, p. 39.