DOI Kapitel:
Chapter VI: Work for the Medici and Male Busts
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62110#0147
WORK FOR THE MEDICI
89
and original. The heads on the antique armour, and on
the aegis of Athene, are mild compared to the fierce mask
with gaping mouth of Verrocchio’s Gorgon ; and so is the
winged head carved by Donatello on the breastplate of the
Gattemelata. The face is splendidly modelled, with the
usual emphasis of bone, and the whole decoration of the
armour—the sharp-pointed fronds of the shoulder-pieces,
the fringe and other ornaments—are executed with his
accustomed trenchant energy.
On account of its vigour and a certain truculence
characteristic of Antonio Pollaiuolo, the bust has been
sometimes attributed to him ; but, in spite of the absence
of documentary evidence, there can be no doubt of
Verrocchio’s authorship. Besides the above-mentioned
peculiarities of the armour, the hair is treated in his
usual manner, with the luxuriant curls indicated in strong
spiral curves. The curved lips resemble those of the
David, and the eyeballs and lids are treated in precisely
the same manner. The superb force of the Colleoni is
foreshadowed in the poise of the head and the arrogant
expression.
It is impossible to accept as more than school-work the
bust of Lorenzo in the collection of Mr. Quiney Shaw,
Boston, usually attributed to Verrocchio (Plate XX). The
bust is, unfortunately, known to me only through the
photograph, but the mediocre quality of the work is easily
seen. The coarsely-modelled, flaccid face, in which there
is no indication of bone ; the long dead lines of the hair ;
the lack of energy in the expression of the face and in the
execution, point to the authorship of some weak imitator.
It must have been a feeble artist who could interpret the
concentration and force of Lorenzo thus tamely and
89
and original. The heads on the antique armour, and on
the aegis of Athene, are mild compared to the fierce mask
with gaping mouth of Verrocchio’s Gorgon ; and so is the
winged head carved by Donatello on the breastplate of the
Gattemelata. The face is splendidly modelled, with the
usual emphasis of bone, and the whole decoration of the
armour—the sharp-pointed fronds of the shoulder-pieces,
the fringe and other ornaments—are executed with his
accustomed trenchant energy.
On account of its vigour and a certain truculence
characteristic of Antonio Pollaiuolo, the bust has been
sometimes attributed to him ; but, in spite of the absence
of documentary evidence, there can be no doubt of
Verrocchio’s authorship. Besides the above-mentioned
peculiarities of the armour, the hair is treated in his
usual manner, with the luxuriant curls indicated in strong
spiral curves. The curved lips resemble those of the
David, and the eyeballs and lids are treated in precisely
the same manner. The superb force of the Colleoni is
foreshadowed in the poise of the head and the arrogant
expression.
It is impossible to accept as more than school-work the
bust of Lorenzo in the collection of Mr. Quiney Shaw,
Boston, usually attributed to Verrocchio (Plate XX). The
bust is, unfortunately, known to me only through the
photograph, but the mediocre quality of the work is easily
seen. The coarsely-modelled, flaccid face, in which there
is no indication of bone ; the long dead lines of the hair ;
the lack of energy in the expression of the face and in the
execution, point to the authorship of some weak imitator.
It must have been a feeble artist who could interpret the
concentration and force of Lorenzo thus tamely and