DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0079
EARLY GOLDSMITH’S WORK 51
branch out two brackets for the support of statuettes.
These certainly belong to the original design, but the
figures they support are modern. On the volutes are
medallions both back and front. Those behind contain
a very beautiful Annunciation the work of Antonio
Pollaiuolo, those in front, two Saints seated on the
ground in a landscape. These from the contrast of
style to that of Antonio, have been attributed to
Miliano Dei, but a comparison of the work with the
medallions on the Cross proves them to be by Betto
Betti. On one is an old man in the dress of a monk, on
the other a youthful saint. They perhaps represent S.
Augustine and S, John the Evangelist, but as they are
without symbols it is difficult to determine. They are
curiously constructed, and have the same gnome-like
German appearance as all the foregoing figures. They
sit on the ground with outstretched necks in strange
ungainly postures. The coarse features have a very
earnest expression, but are yet almost grotesque. The
foreshortening of the leg of the old saint is badly
indicated, and the draperies are treated with an
uncouthness that show the artist to have no sense for
the beauty of line. The old saint, squatted rather than
seated, with one leg tucked under him, resembles almost
exactly God the Father in the top medallion. These
are the only works of Betto Betti known to me,
but his style is so personal, so strange and uncouth,
with its strong suggestion of German influence,
that did others exist, they would be recognized without
difficulty.
branch out two brackets for the support of statuettes.
These certainly belong to the original design, but the
figures they support are modern. On the volutes are
medallions both back and front. Those behind contain
a very beautiful Annunciation the work of Antonio
Pollaiuolo, those in front, two Saints seated on the
ground in a landscape. These from the contrast of
style to that of Antonio, have been attributed to
Miliano Dei, but a comparison of the work with the
medallions on the Cross proves them to be by Betto
Betti. On one is an old man in the dress of a monk, on
the other a youthful saint. They perhaps represent S.
Augustine and S, John the Evangelist, but as they are
without symbols it is difficult to determine. They are
curiously constructed, and have the same gnome-like
German appearance as all the foregoing figures. They
sit on the ground with outstretched necks in strange
ungainly postures. The coarse features have a very
earnest expression, but are yet almost grotesque. The
foreshortening of the leg of the old saint is badly
indicated, and the draperies are treated with an
uncouthness that show the artist to have no sense for
the beauty of line. The old saint, squatted rather than
seated, with one leg tucked under him, resembles almost
exactly God the Father in the top medallion. These
are the only works of Betto Betti known to me,
but his style is so personal, so strange and uncouth,
with its strong suggestion of German influence,
that did others exist, they would be recognized without
difficulty.