After a project of Donato Bramante, Santa Maria della Consolazione, 1508.
Todi.
School of Piero della Francesca (Laurana or Giuliano da Sangallo?), Ideal City, c. 1460.
Oil on wood panel, 60 × 200 cm.
Galleria Nazionale delle Marche, Urbino.
Donatello had succeeded in doing what Brunelleschi was trying to do: to realise the expression of liveliness in every material, in wood, clay and stone, independent of reality. The figures’ terrible experiences of poverty, pain and misery are reflected in his reproduction of them. In his portrayals of women and men, he was able to express everything that constituted their personalities. Additionally, none of his contemporaries were superior to him in their decorations of pulpits, altars and tombs, and these include his stone relief of Annunciation of the Virgin in Santa Croce or the marble reliefs of the dancing children on the organ ledge in the Florentine Cathedral. His St George, created in 1416 for Or San Michele, was the first still figure in a classical sense and was followed by a bronze statue of David, the first free standing plastic nude portrayal around 1430, and in 1432 the first worldly bust, with Bust of Niccolo da Uzzano. Finally, in 1447, he completed the first equestrian monument of Renaissance plastic with the bronze Equestrian Monument of Gattamelata, the Venetian mercenary leader, (around 1370 to 1443), which he created for Padua.
Donatello’s rank and fame was only achieved by one other person, the sculptor Luca della Robbia (1400 to 1482), who not only created the singer’s pulpit in Florence Cathedral (1431/1438), but also the bronze reliefs (1464/1469) at the northern sacristy of the Cathedral. His most important achievement, however, is his painted and glazed clay work. The works, which were initially made as round or half-round reliefs, were intended as ornamentation for architectonic rooms. But they found a role elsewhere – the Madonna with Child accompanied by Two Angels, surrounded by flower festoons and fruit wreaths in the lunette of Via d’Angelo is a rather splendid result of his creations. As Donatello’s skills culminated in his portraits of men, Robbia’s mastery is demonstrated in his graceful portrays of childlike and feminine figures – there was nothing more beautiful in Italian sculpture in the fifteenth century.
The demands on the design of these products rose to the extent with which the skills in manufacturing glazed clay work in Italy increased. In the end, not only altars and individual figures but also entire groups of figures were made using this technique, which left the artist complete freedom with regard to the design. Luca della Robbia passed his skills and his experience on to his nephew Andrea della Robbia (1435 to 1525). He in turn, and his sons Giovanni (1469 until after 1529) and Girolamo (1488 to 1566) developed the technique of glazed terracotta even further and together with them created the famous round reliefs of the Foundling Children on the frieze above the hall of the Florence orphanage during the years from 1463 to 1466.
Pisanello (Antonio Puccio), Portrait of a Princess, c. 1435–1440.
Oil on wood panel, 43 × 30 cm.
Musée du Louvre, Paris.
The fact that the production of the workshop of the della Robbia Family can still be admired nowadays in many places on Northern Italy demonstrates that the terracotta was not only to the taste of the general Italian public but also to that of the Europeans generally, and that the style was gaining more and more lovers. At the same time we should not forget that no other century was as favourably inclined towards sculptural design as the fifteenth century. Thus Donatello’s seeds bore splendid fruit. His two most important students, the sculptor Desiderio da Settignano (approximately 1428 to 1464) and the painter, sculptor, goldsmith and bronze caster Andrea del Verrocchio (1435/1436–1488), continued to run his school in his way of thinking. Especially the latter not only created a number of altarpieces, but also became the most important sculptor in Florence. He cast the statue of David, for instance, (around 1475) and the Equestrian Statue (1479) of the mercenary leader Bartolomeo Colleoni (1400 to 1475) in Venice. Verrocchio’s style prepared the transition to the High Renaissance.
Settignano has left considerably fewer pieces of art than Verrocchio and mainly occupied himself with marble Madonna reliefs, figures of children and busts of young girls. He passed his skills and knowledge on to his most important student, Antonio Rosselino (1427 to 1479), whose main piece of work is the tomb of the Cardinal of Portugal in San Miniato al Monte in Florence.
Among Rosselino’s students was Mino da Fiesole (1431 to 1484), who, while originally a stonemason, became the best marble technician of his time and created gravestones in the form of monumental wall graves, and Benedetto da Maiano. Fiesole’s art mainly lived on imitating nature, and was thus too limited to lend variety to his large production.
Domenico Veneziano, Portrait of a Young Woman, c. 1465.
Oil on wood panel, 51 × 35 cm.
Gemäldegalerie, Dresden.
The second half of the fifteenth century shows the gradual transition from popular marble processing to the more austere bronze casting, and the two David statues are examples of this. Donatello’s work shows a rather thoughtful David, the other, by Verrocchio, in complete contrast, created in the ideal form of naturalism, a self-confident youth, who is smiling, satisfied with his successful battle, Goliath’s head chopped off at his feet. This smile, which has frequently, but to no avail, been copied by stonemasons has become a trade mark of Verocchio’s school. Only one artist really succeeded in conjuring this smile onto some of his own work: Leonardo da Vinci, also a student of Verrocchio. The sculptor Verrocchio has to share his fame with the painter Verrocchio, who has only left few paintings behind. Among them are The Madonna (1470/1475), Tobias and the Angel, also (1470/75), as well as the Baptism of Christ, painted in tempera colours (1474). As the painter, master builder and art writer Giorgio Vasari (1511 to 1574) recorded convincingly, Leonardo da Vinci painted the angel kneeling in the foreground in this picture. Later, he possibly painted over this picture in oil after Verrocchio had moved away to Venice.
Apart from the statue of the young David, another sculpture belonging to his masterpieces is surely Christ and St Thomas in a niche in the Church of Or San Michele and the Equestrian Statue of Colleoni, which he did not live to see completed.
In Rome, the painter and goldsmith Antonio del Pollaiuolo (around 1430 to 1498) operated in a workshop, creating the first small sculptures there. His pen-and-ink-drawing, possibly a draft for a relief, Fighting Naked Men (approximately 1470/1475) and the copperplate engraving Battle of the Ten Naked Men (around 1470) were to break new ground in nude art. His most important works of art however, are the bronze tombs of the popes Sixtus V (1521 to 1590) and Innocent VIII (1432 to 1492) in St Peter’s.
The development in the field of painting in Florence took place at about the same time as that in the field of sculpture, and raised it to a rich and splendid standard. Initially, the representatives of these two directions were irreconcilably opposed to each other, each stubbornly insisting on their own points of view. Finally, approximately in the middle of the fifteenth century, a certain fusion took place, the monumental always remaining a basic theme in Florentine art, which now found its expression in the monumental fresco-painting led by Masaccio and the Dominican monk Fra Giovanni da Fiesole, called Fra Angelico (1387 to 1455).
Fra Angelico (Fra Giovanni da Fiesole), The Deposition of the Cross (Pala di Santa Trinità), 1437–1440.
Tempera