DOI chapter:
Chapter XII: The Group of Or. S. Michele and the Silver Relief
DOI Page / Citation link:https://doi.org/10.11588/diglit.62110#0260
166 VERROCCHIO
Verrocchio had undertaken another work of equal im-
portance—the Silver Relief for the Altar of S. Giovanni,
commissioned by the Opera del Duomo (Plate XXXIX).
Although executed on a scale so minute that the foremost
figures are but a few inches in height, the sculpture is
conceived with more freedom and on even nobler lines
than the bronze statues.
The Silver Altar of S. Giovanni, formerly in the Bap-
tistry, now in the Museo dell1 Opera del Duomo, is one of
our most precious possessions of Renaissance Art, not only
for its intrinsic beauty, which is great, but also because in
its carvings the development of Florentine Art can be
traced in all its stages, from the middle of the 14th to the
end of the 15th century. It was begun in 1366 by the
goldsmiths Betto di Geri and Leonardo di Ser Giovanni-
the latter celebrated for his still more elaborate Silver
Altar of the Pistoia Cathedral; but the work was con-
tinually interrupted, and it was not till the beginning of
the 15th century that the eight frontal reliefs were
completed. At that time, though still lacking the
dedicatory figure of the Baptist and the surmounting
cross, the altar was exposed and consecrated in the Church
of S. Giovanni, for which it was executed. In 1451 the
commission for the statuette to fill the central shrine was
given to Michelozzo, who completed in a few months the
weak and coarsely carved figure which harmonises so ill
with the delicate and intricate decorations. In 1459 the
crucifix—a reliquary containing a fragment of the true
Cross—was added, the work of Antonio Pollaiuolo and
Betto di Francesco Betti. It 1476 it was decided to com-
plete the lateral reliefs, and commissions for models were
issued to Antonio Pollaiuolo, to Verrocchio, and to other
Verrocchio had undertaken another work of equal im-
portance—the Silver Relief for the Altar of S. Giovanni,
commissioned by the Opera del Duomo (Plate XXXIX).
Although executed on a scale so minute that the foremost
figures are but a few inches in height, the sculpture is
conceived with more freedom and on even nobler lines
than the bronze statues.
The Silver Altar of S. Giovanni, formerly in the Bap-
tistry, now in the Museo dell1 Opera del Duomo, is one of
our most precious possessions of Renaissance Art, not only
for its intrinsic beauty, which is great, but also because in
its carvings the development of Florentine Art can be
traced in all its stages, from the middle of the 14th to the
end of the 15th century. It was begun in 1366 by the
goldsmiths Betto di Geri and Leonardo di Ser Giovanni-
the latter celebrated for his still more elaborate Silver
Altar of the Pistoia Cathedral; but the work was con-
tinually interrupted, and it was not till the beginning of
the 15th century that the eight frontal reliefs were
completed. At that time, though still lacking the
dedicatory figure of the Baptist and the surmounting
cross, the altar was exposed and consecrated in the Church
of S. Giovanni, for which it was executed. In 1451 the
commission for the statuette to fill the central shrine was
given to Michelozzo, who completed in a few months the
weak and coarsely carved figure which harmonises so ill
with the delicate and intricate decorations. In 1459 the
crucifix—a reliquary containing a fragment of the true
Cross—was added, the work of Antonio Pollaiuolo and
Betto di Francesco Betti. It 1476 it was decided to com-
plete the lateral reliefs, and commissions for models were
issued to Antonio Pollaiuolo, to Verrocchio, and to other