DOI Heft:
Nr. 115 (October 1902)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19877#0077
Studio- Talk
him well out of his difficul-
ties. Between the sculp-
tured side pilasters stands
the large sarcophagus, faced
with ancient Serravezza
marble (red with veins of
white) from the workshops
of the Pietre Dure, and in
front of it a well-conceived
and well-executed figure of
Harmony mourns the death
of the Master, whose bust
stands in the niche above
the architrave. But the
most interesting detail for
readers of The Studio is
to be found in the orna-
mentation that runs along
the architrave. Here
Cassioli has been able to
work out his own fancies,
and has composed a highly
decorative frieze by the
union of the violin bridge
and the soprano clef.
"marchen" (Photograph by Hermann Boll) by hans looschen Below runs a common
architectural motive which
suggests the pegs of the
violin, and the whole com-
FLORENCE.—On June 23rd, Professor bines most harmoniously. It is surely a pity that,
Guiseppe Cassioli's monument to Rossini having found so good a decorative design for the
was unveiled in the church of Santa Croce, upper part of the monument, Cassioli should have
before the civil and ecclesiastical authori- been content to retain the conventional garlands
ties. Professor Cassioli, as readers of The Studio below. I. M. A.
will remember, is responsible for the south bronze |—<w RTJSSELS.—In the galleries of the Musee
door in the facade of the Cathedral. He is a If de Bruxelles exhibitions "sesuiventet
sculptor of great merit, but has been hampered | , A n£ se ressemblent pas.» While the
in both these great public works by the terms J_-^ director of the Libre-Esthetique strives,
imposed upon him by the Commissioners. In the Qn thg Qne hand; tQ «give a show „ tQ thg ngw
case of the door, he was obliged to enclose his tendencies and the new artists, the management of
delicate fantasies in unsuitable architectural set- thg Socigte' des Beaux-Arts, on the other hand,
tings; and in that of the Rossini monument seemg devoted t0 retrospective methods and to
he was obliged to force his inspiration along the those artigts who have «arrived."
lines of fifteenth-century forms, in order, said the -
Commissioners, that his work might harmonise A collection of twenty-six paintings at the Libre-
with that of Rossellini in the neighbouring chapel. Esthetique revealed the fact that Willy Schlobach,
Nothing could be more mistaken than the imposi- one of the founders of the " Cercle des XX," who
tion of a superficial harmony of this kind, especially for ten years past has been quietly working unob-
when united to a poverty of funds which has served, has extraordinary gifts as a colourist.
rendered impossible the use of a high-class M. F. J. Delvin exhibited a powerfully - drawn
marble, and the profuse ornamentation which this pastel, representing a bull-fight scene. Mr. G.
style requires. Stevens showed distinct advance in a curiously
Professor Cassioli's undoubted gifts have brought
original work, styled Tristan and Isolde.
65
him well out of his difficul-
ties. Between the sculp-
tured side pilasters stands
the large sarcophagus, faced
with ancient Serravezza
marble (red with veins of
white) from the workshops
of the Pietre Dure, and in
front of it a well-conceived
and well-executed figure of
Harmony mourns the death
of the Master, whose bust
stands in the niche above
the architrave. But the
most interesting detail for
readers of The Studio is
to be found in the orna-
mentation that runs along
the architrave. Here
Cassioli has been able to
work out his own fancies,
and has composed a highly
decorative frieze by the
union of the violin bridge
and the soprano clef.
"marchen" (Photograph by Hermann Boll) by hans looschen Below runs a common
architectural motive which
suggests the pegs of the
violin, and the whole com-
FLORENCE.—On June 23rd, Professor bines most harmoniously. It is surely a pity that,
Guiseppe Cassioli's monument to Rossini having found so good a decorative design for the
was unveiled in the church of Santa Croce, upper part of the monument, Cassioli should have
before the civil and ecclesiastical authori- been content to retain the conventional garlands
ties. Professor Cassioli, as readers of The Studio below. I. M. A.
will remember, is responsible for the south bronze |—<w RTJSSELS.—In the galleries of the Musee
door in the facade of the Cathedral. He is a If de Bruxelles exhibitions "sesuiventet
sculptor of great merit, but has been hampered | , A n£ se ressemblent pas.» While the
in both these great public works by the terms J_-^ director of the Libre-Esthetique strives,
imposed upon him by the Commissioners. In the Qn thg Qne hand; tQ «give a show „ tQ thg ngw
case of the door, he was obliged to enclose his tendencies and the new artists, the management of
delicate fantasies in unsuitable architectural set- thg Socigte' des Beaux-Arts, on the other hand,
tings; and in that of the Rossini monument seemg devoted t0 retrospective methods and to
he was obliged to force his inspiration along the those artigts who have «arrived."
lines of fifteenth-century forms, in order, said the -
Commissioners, that his work might harmonise A collection of twenty-six paintings at the Libre-
with that of Rossellini in the neighbouring chapel. Esthetique revealed the fact that Willy Schlobach,
Nothing could be more mistaken than the imposi- one of the founders of the " Cercle des XX," who
tion of a superficial harmony of this kind, especially for ten years past has been quietly working unob-
when united to a poverty of funds which has served, has extraordinary gifts as a colourist.
rendered impossible the use of a high-class M. F. J. Delvin exhibited a powerfully - drawn
marble, and the profuse ornamentation which this pastel, representing a bull-fight scene. Mr. G.
style requires. Stevens showed distinct advance in a curiously
Professor Cassioli's undoubted gifts have brought
original work, styled Tristan and Isolde.
65