DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73713#0126
121
THE Wolks OF
tomy, proportion, and other circumstances which
Compose beautiful things.
The other Sculptors of the Florentine school
imitated Michael Angelo in the appearance of
the anatomical ityle, but without arriving to the
knowledge of their master and; in that John Bo-
logna, Mont Orsoli, and others became much in-
ferior, even until sculpture decayed with the
fate of the Republic, and its Government passed
to reestablish itself in Rome. Here Algardi be-
gan to introduce in sculpture the Ryle which
the painters of his time already sollowed; that
is, he pretended to use in his art the fame imi-
tation of painting, searching the effects of clare
obscure to augment certain parts by the sight:
In short, he exceeded the limit of the end of
sculpture, which is, to imitate the form of truth,
and not the appearance, which is the office of
painting: in this manner he introduced an as-
fected Ryle.
To Algardi fucceeded Lorenzo Bernini, who
began where the other had finished, and having
dedicated himself entirely to puzzle the eye.
made certain statues and groups with inventions
the most bold andfancisul, and in a certain man-
ner Pleasing, as we see by many of them
at Rome, in which he always sacrisiced, correct-
nets to brilliancy, and made all the sorms al-
tered.
The sculptors who have come after, have
ihewn themselves undecided in the imitation
of Algardi, and Bernini; and if they have avail-
ed of truth, it has been to sind the forms, and
THE Wolks OF
tomy, proportion, and other circumstances which
Compose beautiful things.
The other Sculptors of the Florentine school
imitated Michael Angelo in the appearance of
the anatomical ityle, but without arriving to the
knowledge of their master and; in that John Bo-
logna, Mont Orsoli, and others became much in-
ferior, even until sculpture decayed with the
fate of the Republic, and its Government passed
to reestablish itself in Rome. Here Algardi be-
gan to introduce in sculpture the Ryle which
the painters of his time already sollowed; that
is, he pretended to use in his art the fame imi-
tation of painting, searching the effects of clare
obscure to augment certain parts by the sight:
In short, he exceeded the limit of the end of
sculpture, which is, to imitate the form of truth,
and not the appearance, which is the office of
painting: in this manner he introduced an as-
fected Ryle.
To Algardi fucceeded Lorenzo Bernini, who
began where the other had finished, and having
dedicated himself entirely to puzzle the eye.
made certain statues and groups with inventions
the most bold andfancisul, and in a certain man-
ner Pleasing, as we see by many of them
at Rome, in which he always sacrisiced, correct-
nets to brilliancy, and made all the sorms al-
tered.
The sculptors who have come after, have
ihewn themselves undecided in the imitation
of Algardi, and Bernini; and if they have avail-
ed of truth, it has been to sind the forms, and