DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0087
EARLY GOLDSMITH’S WORK 59
Michelangelo. In general design, denuded of the
eighteenth-century additions the work is faultless, the
carvings, technically considered, are a marvel of low relief.
And it is besides important as offering at the outset evi-
dence of the unconscious struggle between the man and
the artist, of which we are made aware throughout his
work. The noble energetic figure of Moses, the muscular
pugilist who poses as Christ, the dainty figures and
romantic setting of the Annunciation, the vehement,
rushing Angels—all bear witness to the conflicting
elements which makes his work of so great psychological
interest—the innate love of beauty and refinement, the
idolatry of brute-force, and the scientific interests in
which his intellect was centred.
The Cross was first used in 1483, at the date of the
completion of the Silver Altar. Both Reliquary
and Altar were prized as the most precious treasures of
the Republic, and in time of war, when finances were
low and other works in precious metal were pawned to
meet expenses, they alone were spared. Only once, in
1529, was the Cross in danger, when, the city being in
urgent need of money, it was pledged to the banker
Camillo Antinori, for the sum of 1500 florins. It was
however redeemed shortly after for 1650 florins.
In 1465 Antonio was commissioned by the same Arte
dei Mercatanti to execute two Silver Candlesticks to
accompany the Cross (Doc. XV. p. 272). They are
described as being enriched with enamels and carved with
figures and reliefs, and probably resembled it in design.
They were 2| br aecia in height and the total cost was 1548
Michelangelo. In general design, denuded of the
eighteenth-century additions the work is faultless, the
carvings, technically considered, are a marvel of low relief.
And it is besides important as offering at the outset evi-
dence of the unconscious struggle between the man and
the artist, of which we are made aware throughout his
work. The noble energetic figure of Moses, the muscular
pugilist who poses as Christ, the dainty figures and
romantic setting of the Annunciation, the vehement,
rushing Angels—all bear witness to the conflicting
elements which makes his work of so great psychological
interest—the innate love of beauty and refinement, the
idolatry of brute-force, and the scientific interests in
which his intellect was centred.
The Cross was first used in 1483, at the date of the
completion of the Silver Altar. Both Reliquary
and Altar were prized as the most precious treasures of
the Republic, and in time of war, when finances were
low and other works in precious metal were pawned to
meet expenses, they alone were spared. Only once, in
1529, was the Cross in danger, when, the city being in
urgent need of money, it was pledged to the banker
Camillo Antinori, for the sum of 1500 florins. It was
however redeemed shortly after for 1650 florins.
In 1465 Antonio was commissioned by the same Arte
dei Mercatanti to execute two Silver Candlesticks to
accompany the Cross (Doc. XV. p. 272). They are
described as being enriched with enamels and carved with
figures and reliefs, and probably resembled it in design.
They were 2| br aecia in height and the total cost was 1548