The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-03-06
studies On italian Art

studies in italian Art
In TAs EroiufioR OF Italian Sculpture
~. p. Dutton A CO.. Lord BALCARREs
does precisely what he announces in
his preface IAN attempt % deal with
the whole basis of plastic art in Italy.
recording the fundamental stages OF
progress and analysing the methods.
theories and ideals Of the various schools
Of sculpture This IL a very ambitious
programme. and a book Of DO pages
can hardly he expected to cover Il in
detail. But the author ~ such a mas
ter Of his subject a. to be able to give
the maximum Of facts in the minimum oC
space. Furthermore. he writes a swift.
smooth prose. and being possessed Ivy his
theme the result is pleasant and instruc-
tive reading. For reasons which he sets
forth plainly he begins with Benedetto
Antelami. though in his Introduction hs
deals with the tradition 10 img'erial art.
the decadencs OF Western art. Oriental
Influences. Byzantium. iconoclasnI. Ra-
VIENNA and the characteristics of the bar
harlan invaders. In the chapter -Indig-
enous Rudiments ~ Italian Sculpture
We ind ourselves fairly RfOat and We rad
Of the little known Antelami. Of the BorRo
san Domino ot thirteenth century FACADE.
and tho growing demands of sculpture.
The status ~ the sculptor ny lSDO WAS
assured. the art had become a recognized
/ vocation. the organization of guilds and
corporations had laid down certain stand
ards ~ work and fixed scales Il r.'munsr-
alton.
With Niccolo Pisanc. despite the oh
srurity IT hts early life. the student at
last feels Arm earth beneath his feet
The real problem about Pisano 10 his
relation with the Gothic art Of the thir-
teentti century Balcirres admits this
problem il well nigh insoluble. some
studenta llelieve that what h called Gothic
art IL Of French importation. introduced
ny the Cistercians. While the term
Gothic connot~s pointed and p-rpen-
dicular architecture. IL still more suggests
the Northern spirit. The poinisst ar
Ugivai arch vas unressrVediy adopted 10y
Niccolo Pisano. hut he was not altogether
susceptible to those manifestations 81
Gothic art which We associate with North
EN- temperament Italian Gothic was
never considered indigenous !, Was called
foreign. lsarh@ruu- ART. reminiscent
It conquest and humiliation. Il was
tue spiri; rather than it, outward forms
which animated Italian artists To- gen
erati"ns y" come. PiSann. in spite ~ his
sntecr,i~nlS and hi aaiuit,as toward
tho ssrcuphagi. was no longer retr,r-I~c-
tive In 'he opinion 81 Balcarrc- Pi-luo's
classical tastes were les marked with
inrrps sing years. and although IL was hi-
son Giovanni Who created AZ ..nfrAn-
rhissasi art. Niccoln was The pioneer whn
recr~1tsd the SECURE foundations u,run
which progress was harsed. The hNati0n
20 tyr. was accomplished We note the
Development of the hs- r-li~f. the lYne'ts
the niche the free standing md ihc group.
carvHtid- the relation 1T sculpture To-
arrhit ecture finish and rmILHcsm.nt
the tundo. Decorated surfaces and the
Underground with an inquiry into the
influence 81 Roldsmiths
An extended consideration II Iur-
traiiurs follows. its traditions essentials:
the portrait bust from the thirteenth 20
the si1 teenth century. treatment of Golf
fure honOrifc portraitura. the knesling
figure seventeenth century reaction and
a sound estimate of that much abused
artist Beruini. The section devoted To-
Michelangelo contains many dpsrcss
~ value Clan Bologna also gets his
dues The Bernini question interests III
This Neapolitan has been held up to scorn
~ generations of sculptors and critics.
and IL may be- admitted that his influence
has been often detestabIe What the
Last Of the giants did with incomparable
-ass his followers did not half acrom-
plirh; they only succeecisd in Initiating
the masters occasional lapser from ropd
taste or else frankly caricaiur~d him.
Baloarres shrewdIy remarks THAT tine
Italians who correspondent TO tho later
portraits - Van Dyck were portrayed by
B~rnini With him Italian sctIlptur. had
reached it, social aDogss. He outliv~d
in hia long career not less than nine pOu-
tlhcatsp. was rich. happy. admired lie
vas influenced by the counter reforma-
ton. and while he was addicted 20 gsner-
alizatlon. this was much ls~- ma ked than
with Guam Bologna and his school His
portrait E,ista are more studied and ure-
ciss: the personal note - observed With
closer intention: and although a c,Ir-ory
glance at some of hi- portraits. for instance
that 81 Francesca d'Este ~ M0,Iena,
uIiRht cause IL 90 l~ chased with earlier
work. " will he found Ia ,Is more sps.cihs
Two other h'Ists az NOdena mark the
d~Sadlence. lees perhaps 81 the sculptor
than 81 ths, model Tho@n also represent
Rs,c prinr-s. -candies with no s'hin=. with.
ont hacks to their heads and With the
noses - ant caters
hut BeTnini dealt With more vigorous
types. His Cardinal Scipio BorglIc~e. tho
carefully wrought lpI-t ~ Co-tarza Buon-
Rrelli and some les authenticated works
(such a. The Nun IN the palace 81 Man
thAI ar" sdnira'l~ 'Ibrrci tnr.ihIr and
tire. These qualities vsr~ is-- cultivated
In tho psTsl f"m!'~. whore Esrniui ~
lowed hiHScifa fr~~v hand In order % l,rinR
the memorial figure into IA rlr"rv with the
alleRoytcsl virtues and thetr informal st
ting. The pride q Ofice demanded scale