DOI Kapitel:
Chapter XIV: The Colleoni Statue
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.62110#0297
THE COLLEONI STATUE
191
The construction of the horse is of special interest. The
perfection of its shape and freedom of action prove that
Verrocchio was as scientifically acquainted with equine as
with human anatomy, and had studied carefully from nature.
At the same time certain mannerisms of treatment—the
tufted forelock, the wrinkles in the neck, and other pecu-
liarities, show that he was influenced by antique sculpture.
That he in no way took the Gattemelata statue by Dona-
tello as his model the differences of construction plainly
show ; neither does his horse bear any resemblance to those
sculptured and painted in Florentine art. The war-horse
painted by Paolo Uccello, Andrea del Castagno, and by
contemporary masters was copied from the ponderous breed
which alone could support the weight of the massive armour
then in use. Compared with these, the horse of the Colleoni
is lightly built and slender, the steed of the antique quadriga.
His model is not far to seek. It is precisely those graceful
horses of S. Marco that he has imitated both in build and
action (Plate XLIV). In shape, in expression, and in all
the details of construction it resembles these, and with the
exception that the hind hoof is slightly raised, the position
also is identical. A resemblance so complete puts it beyond
doubt that he must have studied in Venice before executing
his model, and have made on the spot sketches and studies
of these antique bronze steeds f
Death and the Devil, of 1513, he has copied the shape and action of
the horse exactly, with the exception that the raised hoof is re-
versed. The face of the Knight also is obviously inspired by the
Colleoni.
j The four bronze steeds of S. Marco are probably of Roman work-
manship. They were sent from the Hippodrome, Constantinople, in
1204, by the Doge Dandolo, as part of the Venetian booty. In 1797
they were sent to Paris by Napoleon and placed on the Triumph Arch
191
The construction of the horse is of special interest. The
perfection of its shape and freedom of action prove that
Verrocchio was as scientifically acquainted with equine as
with human anatomy, and had studied carefully from nature.
At the same time certain mannerisms of treatment—the
tufted forelock, the wrinkles in the neck, and other pecu-
liarities, show that he was influenced by antique sculpture.
That he in no way took the Gattemelata statue by Dona-
tello as his model the differences of construction plainly
show ; neither does his horse bear any resemblance to those
sculptured and painted in Florentine art. The war-horse
painted by Paolo Uccello, Andrea del Castagno, and by
contemporary masters was copied from the ponderous breed
which alone could support the weight of the massive armour
then in use. Compared with these, the horse of the Colleoni
is lightly built and slender, the steed of the antique quadriga.
His model is not far to seek. It is precisely those graceful
horses of S. Marco that he has imitated both in build and
action (Plate XLIV). In shape, in expression, and in all
the details of construction it resembles these, and with the
exception that the hind hoof is slightly raised, the position
also is identical. A resemblance so complete puts it beyond
doubt that he must have studied in Venice before executing
his model, and have made on the spot sketches and studies
of these antique bronze steeds f
Death and the Devil, of 1513, he has copied the shape and action of
the horse exactly, with the exception that the raised hoof is re-
versed. The face of the Knight also is obviously inspired by the
Colleoni.
j The four bronze steeds of S. Marco are probably of Roman work-
manship. They were sent from the Hippodrome, Constantinople, in
1204, by the Doge Dandolo, as part of the Venetian booty. In 1797
they were sent to Paris by Napoleon and placed on the Triumph Arch