DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.57409#0511
MICHELOZZO MICHELOZZI.
495
Michelozzo studied sculpture and design, in his youth, under
Donatello;* and although he experienced some difficulty,
he nevertheless pursued his labours to improve himself so
steadily, whether in clay, in wax, or in marble, that, in the
works which he afterwards produced, he constantly displayed
much talent, and even genius. In one respect, however,
Michelozzo surpassed many, and on the point in question may
be said to have surpassed himself also. We here allude to
the fact, that after the death of Brunellesco, Michelozzo was
considered the most consistently regular architect of his
time, and the one who most suitably and correctly arranged
and distributed the different kinds of dwellings, whether
palaces, monasteries, or houses, as will be declared in its
proper place. Donatello availed himself for many years of
Michelozzo’s aid; the latter having acquired great practice in
works of marble, as well as in the casting of bronze. Of this
we have proof in the sepulchral monument erected, as we
have said, in the church of San Giovanni, at Florence, by
Donatello, for the Pope Giovanni Coscia, since the greater
part of it was executed by him. In the same place there is
still to be seen a marble statue of Faith, by Michelozzo; it is
two braccia and a half high,f and is very beautiful. This
figure was made at the same time with one of Hope, of the
same size, and another of Charity, both executed by Donatello,
but the work of Michelozzo does not lose by comparison with
them4 Over the sacristy and the rooms of the superintend-
ents, which are opposite to San Giovanni, Michelozzo executed
a San Giovannino, in full relief, § which is finished with
offices of the state; and Lorenzo, the son of Niccolo, was chosen one of
the Priors in 1522.—(See Rumohr ut supra, ii, 241).
* Before commencing his labours with Donato, Michelozzo had pre-
viously studied with Ghiberti, this fact, hitherto unknown, is important,
as accounting in part for the progress in art of Michelozzo, and we learn
it from a fiscal report, in which he alludes to the part he had taken in
the statue of San Matteo, when he was the companion of Lorenzo di
Bartoluccio.—See Gaye, Carteggio Inedito, etc., i. 117-120. Ed. Flor,
1846-9.
f The height of these figures is not quite two braccia.—Masselli.
X For the Florentine Baptistery Michelozzo also made the silver statue
of San Giovanni, attributed by Vasari to Antonio del Pollaiuolo. See Gori,
Monumenta Basilica Baptisterii Florentini. See also Rumohr, ul supra,
for documents relating to other works of this master in the same
building.
§ Now in the often-mentioned corridor of modern bronzes in the
495
Michelozzo studied sculpture and design, in his youth, under
Donatello;* and although he experienced some difficulty,
he nevertheless pursued his labours to improve himself so
steadily, whether in clay, in wax, or in marble, that, in the
works which he afterwards produced, he constantly displayed
much talent, and even genius. In one respect, however,
Michelozzo surpassed many, and on the point in question may
be said to have surpassed himself also. We here allude to
the fact, that after the death of Brunellesco, Michelozzo was
considered the most consistently regular architect of his
time, and the one who most suitably and correctly arranged
and distributed the different kinds of dwellings, whether
palaces, monasteries, or houses, as will be declared in its
proper place. Donatello availed himself for many years of
Michelozzo’s aid; the latter having acquired great practice in
works of marble, as well as in the casting of bronze. Of this
we have proof in the sepulchral monument erected, as we
have said, in the church of San Giovanni, at Florence, by
Donatello, for the Pope Giovanni Coscia, since the greater
part of it was executed by him. In the same place there is
still to be seen a marble statue of Faith, by Michelozzo; it is
two braccia and a half high,f and is very beautiful. This
figure was made at the same time with one of Hope, of the
same size, and another of Charity, both executed by Donatello,
but the work of Michelozzo does not lose by comparison with
them4 Over the sacristy and the rooms of the superintend-
ents, which are opposite to San Giovanni, Michelozzo executed
a San Giovannino, in full relief, § which is finished with
offices of the state; and Lorenzo, the son of Niccolo, was chosen one of
the Priors in 1522.—(See Rumohr ut supra, ii, 241).
* Before commencing his labours with Donato, Michelozzo had pre-
viously studied with Ghiberti, this fact, hitherto unknown, is important,
as accounting in part for the progress in art of Michelozzo, and we learn
it from a fiscal report, in which he alludes to the part he had taken in
the statue of San Matteo, when he was the companion of Lorenzo di
Bartoluccio.—See Gaye, Carteggio Inedito, etc., i. 117-120. Ed. Flor,
1846-9.
f The height of these figures is not quite two braccia.—Masselli.
X For the Florentine Baptistery Michelozzo also made the silver statue
of San Giovanni, attributed by Vasari to Antonio del Pollaiuolo. See Gori,
Monumenta Basilica Baptisterii Florentini. See also Rumohr, ul supra,
for documents relating to other works of this master in the same
building.
§ Now in the often-mentioned corridor of modern bronzes in the