DOI Page / Citation link:
https://doi.org/10.11588/diglit.61668#0127
EARLY PAINTED WORK 83
gripping its throat with the same energy as in the
Combat with the Hydra, in the other he strangles the
serpents. So vigorous in action are the figures, so.con-
centrated in effort, that the eye involuntarily rests first
upon them, diverted somewhat unduly from the face
above. As the bust dates most likely from the same
period as the early paintings of Antonio, it may be
considered here. It is probably a portrait of one of the
Medici, whose type of face and arrogant bearing it
resembles closely. It is evidently modelled with the
intention of casting in bronze, and the clay has been
painted in imitation, either by Antonio himself or sub-
sequently. This paint has cracked in places and peeled
off to the great damage of the delicate modelling. It
has suffered much in other ways, the arms having
apparently been broken from the shoulder, which gives
it a curious jar-like look. The dragon-shaped helmet
is also much broken, little remaining but the legs of the
beast. Yet in spite of all this damage, the bust seems
to fill the room with its buoyant, vivacious life. In
expression the face has something of the audacious
insolence of the David and S. Lorenzo of Donatello,
but the audacity is mixed with charming boyish frank-
ness, and the curled lips are as sensitive as a girl’s.
The face is exquisitely modelled, with a realism as
absolute as any modern portrait, and there is no trace
of convention in conception or treatment. Putting
aside the over-elaboration of the breastplate, in itself a
superb piece of goldsmith’s work, the bust is one of the
freest and most modern sculptures of the epoch.
gripping its throat with the same energy as in the
Combat with the Hydra, in the other he strangles the
serpents. So vigorous in action are the figures, so.con-
centrated in effort, that the eye involuntarily rests first
upon them, diverted somewhat unduly from the face
above. As the bust dates most likely from the same
period as the early paintings of Antonio, it may be
considered here. It is probably a portrait of one of the
Medici, whose type of face and arrogant bearing it
resembles closely. It is evidently modelled with the
intention of casting in bronze, and the clay has been
painted in imitation, either by Antonio himself or sub-
sequently. This paint has cracked in places and peeled
off to the great damage of the delicate modelling. It
has suffered much in other ways, the arms having
apparently been broken from the shoulder, which gives
it a curious jar-like look. The dragon-shaped helmet
is also much broken, little remaining but the legs of the
beast. Yet in spite of all this damage, the bust seems
to fill the room with its buoyant, vivacious life. In
expression the face has something of the audacious
insolence of the David and S. Lorenzo of Donatello,
but the audacity is mixed with charming boyish frank-
ness, and the curled lips are as sensitive as a girl’s.
The face is exquisitely modelled, with a realism as
absolute as any modern portrait, and there is no trace
of convention in conception or treatment. Putting
aside the over-elaboration of the breastplate, in itself a
superb piece of goldsmith’s work, the bust is one of the
freest and most modern sculptures of the epoch.