Donatello, by Lord Balcarres. Earl of David Lindsay Crawford

      Published by Good Press, 2019

       [email protected]

      EAN 4057664569141

Table of Contents

       PREFACE

       ILLUSTRATIONS

       DONATELLO

       APPENDICES

       APPENDIX I

       WORK LOST OR NOT EXECUTED

       APPENDIX II

       DOCUMENTS

       A.

       B.

       C.

       D.

       APPENDIX III

       BOOKS OF REFERENCE

       INDEX

       MICHAEL ANGELO BUONARROTI

       LIBRARY OF ART

       THE CRITICISM OF ART

       SIX GREEK SCULPTORS

       ROMAN ART, FROM AUGUSTUS TO CONSTANTINE

       MEDIÆVAL ART, TO GIOTTO

       DUCCIO, AND THE BEGINNINGS OF ITALIAN PAINTING

       GIOTTO

       GHIRLANDAJO AND THE EARLIER FLORENTINES

       DONATELLO

       PISANELLO

       THE THREE BELLINI AND THE EARLIER VENETIANS

       MICHAEL ANGELO BUONARROTI

       RAPHAEL AND HIS SCHOOL IN ROME

       TITIAN

       DÜRER

       CORREGGIO

       FRENCH PAINTING IN THE SIXTEENTH CENTURY

PREFACE

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      An attempt is made in the following pages to determine the position and character of Donatello's art in relation to that of his contemporaries and successors. The subject must be familiar to many who have visited Florence, but no critical work on the subject has been published in English. I have therefore quoted as many authorities as possible in order to assist those who may wish to look further into problems which are still unsettled. Most of the books to which reference is made can be consulted in the Art Library at South Kensington, and in the British Museum. Foreign critics have written a good deal about Donatello from varied, if somewhat limited aspects. Dr. Bode's researches are, as a rule, illustrative of the works of art in the Berlin Museum. The main object of Dr. Semper was to collect documentary evidence about the earlier part of Donatello's life; Gloria and Gonzati have made researches into the Paduan period; Lusini confines his attention to Siena, Centofanti to Pisa; M. Reymond and Eugène Müntz are more comprehensive in their treatment of the subject.

      With eleven or twelve exceptions I have seen the original of every existing piece of sculpture, architecture and painting mentioned in this book. I regret, however, that among the exceptions should be a work by Donatello himself, namely, the Salome relief at Lille—my visits to that town having unfortunately coincided with public holidays, when the gallery was closed. I must express my thanks to the officials of Museums, as well as to private collectors all over Europe, for unfailing courtesy and assistance. I have also to acknowledge my indebtedness to the invaluable advice of Mr. S. Arthur Strong, Librarian of the House of Lords.

      21.vi.1903

ILLUSTRATIONS

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