Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Terra-Cotta And Luca Della Robbia Ware, Considered On The Principles Of Decorative Art.
to have a peculiar interest for the student of symbolism ancl the hagiologist , who will see , at the top of the cross , a nest with the father-bird overhanging it , and with his bill ripping up his breast to bring to life his dead young ones slain by a serpent ' s biteas he sprinkles them with his
, own warm heart-blood . This is the pelican in its piety , as it is called . Set forth here in its first and obvious meaning , this emblem tells us of the great atonement made by our Lord at Calvary , when He poured out His life-blood on the cross for fallen man ' s redemption .
Another admirable work ( 7 , 593 ) in the same material , is the small piece figured , in rather high relief , with the birth—a common subject among the Florentines—of St . John the Baptist ( Luke i ) . So wide , however , is the difference , in the style , between this and the Crucifixion just noticed that they cannot be either of the same period , or the same master .
As a work struck off with wonderful ability , though , as it would seem , in great haste , and as a sketch for something of larger size , 7 , 619 ought not to be passed by , notwithstanding it be rough in very low relief , without a careful examination of those crowds of men and women quickened with
strong , deep feelings of sorrow , the while , in one compartment , they look upon the scourging , within a vast architectural hall , of our Lord ; in the other they are gathered about Calvary to witness , in wildest grief , His crucifixion . Done , as is evidentfor some high personagethe artist has
, , represented , after a somewhat classic manner , his patron ' s bust upon the sort of dado which serves as a basement to the whole of this double composition , as well as a shield of armorial bearings , of which the tints are unknown though a fess , charged with three stars of six points , is discernible .
Though barely one foot and a half high , and less than that in width , No . 7 , 610 , tiie likeness of a monk , or perhaps a friar , seated at his studies
and writing , has so many elements of the grand and majestic about it that , small in size-as it is , it may be looked upon as one among the greatest works of its kind that have been wrought in burned clay , marble , or anything else . The inmate of the cloister is there with well imagined
head ; the cast of the features , far from being stern , has softened manliness ; the brow is furrowed , the cheek haggard , not with age , but thoughtfulness , often watchings , fasting , and self-denial ; the deepset eyes , so keen , so quick , are all in earnest on their work , as if they had that moment caught the
passage they had sought for in the open bookperhaps of Holy Writ—which they are scanning- ; the hand so gracefully outstretched , with its slight , tapering fingers , is strong and sinewy withal . Hardly anywhere could we find better , broader , more majestic folds of drapery than those whicli
his full flowing habit takes as it falls around his person . Head and hand—all the thinking man , seems quickened with one feeling—the highness
of his hallowed occupation . Taken altogether , nothing that has come to us from the happiest times of Grecian sculpture can go before tliis little piece , in fitness , grace , and dignity . From considering these few among the many works in high , and low relief , let us go and view
other burned clays of a more daring character , holding , as they do , a place in the loftiest class of statuary ; that is , of groups done in the round . Of these , the first to which I want to draw your attention is No . 7 , 573 , a group of the Blessed Virgin Mary sitting , with our Lordas a naked
, baby , sleeping on her knee . It is ascribed , perhaps rightly so , to Jacopo della Querela . Had this group represented a heathen woman with her boy , and been dug up in Athens , or found amid
the ruins of old Rome , or in Adrian's villa at Tivoli , the classic world would have rung- with its praises , and casts from it be set up in every museum , so admirably conceived and executed are both the figures . The virgin-mother is looking down , as much in worship as in love , upon that
sweet son of hers , slumbering within her lap so fast asleep , asleep not only in eyes , but in hands , in feet , asleep all over His body , that is modelled so round , so soft . Though not thoroughly ideal in its forms , this admirable group shows a beginning of the Greek principle of choosing the finer
shapes of nature found amid several individuals , and putting them in one , to give us human nature , not as it is , but as it might be , with more ancl greater beauties of the outward person about it than may be usually met united in the one same man or woman .
From a mere artistic point of view , the stark naked infant Lord may be scientifically ancl exquisitely modelled and so far admirable ; but an inborn sense of the reverent and becoming , as well as seemly , whispers that , as in mediasval times , the body of our Lord as a babe should be
somewhat clothed . An able artist needs not tax his invention very highly to find out the way for making a child beautiful in all its most beautiful parts and members , its head and face , its hands and feet , ancl yet know how , without hiding its limbsto swathe its body in those garments with
, which , as the Gospel tells us , Luke ii ., our Lord ' s blessed mother immediately wrapped Him at Hisbirth before the shepherds came to find Him in the crib .
Quite near this fine work ' of Jacopo della . Querela , in the case behind it , is number 7 , 358 , consisting of a group of four figures , almost lifesize , that represents what in olden times we English used to call " Our Lady of ' Pity . " In the centre is seated the Blessed Virgin Mary , bending
over our Lord just taken down dead from the cross , and lying , full length , on His weeping mother ' s lap ; to the right is , kneeling , the beloved disciple , St . John ; upon the left side of our Lord , St . Mary Magdalen . To my thinking , this valuable work is , by a whole hundred years .
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Terra-Cotta And Luca Della Robbia Ware, Considered On The Principles Of Decorative Art.
to have a peculiar interest for the student of symbolism ancl the hagiologist , who will see , at the top of the cross , a nest with the father-bird overhanging it , and with his bill ripping up his breast to bring to life his dead young ones slain by a serpent ' s biteas he sprinkles them with his
, own warm heart-blood . This is the pelican in its piety , as it is called . Set forth here in its first and obvious meaning , this emblem tells us of the great atonement made by our Lord at Calvary , when He poured out His life-blood on the cross for fallen man ' s redemption .
Another admirable work ( 7 , 593 ) in the same material , is the small piece figured , in rather high relief , with the birth—a common subject among the Florentines—of St . John the Baptist ( Luke i ) . So wide , however , is the difference , in the style , between this and the Crucifixion just noticed that they cannot be either of the same period , or the same master .
As a work struck off with wonderful ability , though , as it would seem , in great haste , and as a sketch for something of larger size , 7 , 619 ought not to be passed by , notwithstanding it be rough in very low relief , without a careful examination of those crowds of men and women quickened with
strong , deep feelings of sorrow , the while , in one compartment , they look upon the scourging , within a vast architectural hall , of our Lord ; in the other they are gathered about Calvary to witness , in wildest grief , His crucifixion . Done , as is evidentfor some high personagethe artist has
, , represented , after a somewhat classic manner , his patron ' s bust upon the sort of dado which serves as a basement to the whole of this double composition , as well as a shield of armorial bearings , of which the tints are unknown though a fess , charged with three stars of six points , is discernible .
Though barely one foot and a half high , and less than that in width , No . 7 , 610 , tiie likeness of a monk , or perhaps a friar , seated at his studies
and writing , has so many elements of the grand and majestic about it that , small in size-as it is , it may be looked upon as one among the greatest works of its kind that have been wrought in burned clay , marble , or anything else . The inmate of the cloister is there with well imagined
head ; the cast of the features , far from being stern , has softened manliness ; the brow is furrowed , the cheek haggard , not with age , but thoughtfulness , often watchings , fasting , and self-denial ; the deepset eyes , so keen , so quick , are all in earnest on their work , as if they had that moment caught the
passage they had sought for in the open bookperhaps of Holy Writ—which they are scanning- ; the hand so gracefully outstretched , with its slight , tapering fingers , is strong and sinewy withal . Hardly anywhere could we find better , broader , more majestic folds of drapery than those whicli
his full flowing habit takes as it falls around his person . Head and hand—all the thinking man , seems quickened with one feeling—the highness
of his hallowed occupation . Taken altogether , nothing that has come to us from the happiest times of Grecian sculpture can go before tliis little piece , in fitness , grace , and dignity . From considering these few among the many works in high , and low relief , let us go and view
other burned clays of a more daring character , holding , as they do , a place in the loftiest class of statuary ; that is , of groups done in the round . Of these , the first to which I want to draw your attention is No . 7 , 573 , a group of the Blessed Virgin Mary sitting , with our Lordas a naked
, baby , sleeping on her knee . It is ascribed , perhaps rightly so , to Jacopo della Querela . Had this group represented a heathen woman with her boy , and been dug up in Athens , or found amid
the ruins of old Rome , or in Adrian's villa at Tivoli , the classic world would have rung- with its praises , and casts from it be set up in every museum , so admirably conceived and executed are both the figures . The virgin-mother is looking down , as much in worship as in love , upon that
sweet son of hers , slumbering within her lap so fast asleep , asleep not only in eyes , but in hands , in feet , asleep all over His body , that is modelled so round , so soft . Though not thoroughly ideal in its forms , this admirable group shows a beginning of the Greek principle of choosing the finer
shapes of nature found amid several individuals , and putting them in one , to give us human nature , not as it is , but as it might be , with more ancl greater beauties of the outward person about it than may be usually met united in the one same man or woman .
From a mere artistic point of view , the stark naked infant Lord may be scientifically ancl exquisitely modelled and so far admirable ; but an inborn sense of the reverent and becoming , as well as seemly , whispers that , as in mediasval times , the body of our Lord as a babe should be
somewhat clothed . An able artist needs not tax his invention very highly to find out the way for making a child beautiful in all its most beautiful parts and members , its head and face , its hands and feet , ancl yet know how , without hiding its limbsto swathe its body in those garments with
, which , as the Gospel tells us , Luke ii ., our Lord ' s blessed mother immediately wrapped Him at Hisbirth before the shepherds came to find Him in the crib .
Quite near this fine work ' of Jacopo della . Querela , in the case behind it , is number 7 , 358 , consisting of a group of four figures , almost lifesize , that represents what in olden times we English used to call " Our Lady of ' Pity . " In the centre is seated the Blessed Virgin Mary , bending
over our Lord just taken down dead from the cross , and lying , full length , on His weeping mother ' s lap ; to the right is , kneeling , the beloved disciple , St . John ; upon the left side of our Lord , St . Mary Magdalen . To my thinking , this valuable work is , by a whole hundred years .