New-York tribune., 1918-04-20
From the Relief by Antonio Rossellno

which we have alluded 1t is cata-
logued as having possibly served as
the model for a better known terra
Gotta by the master at South Kensing-
ton. Model or not, the first step or
the last, 1t possesses an Incompatible
bloom, the bloom of a flower poised
and trembling in a moment of absolute
perfection. Donatello is king in this
company, but there are potent if less
renowned names to be associated with
his-Luca della Robbia, Desiderio da
Settigano, Sperandio and others-and
then there are, of course, works by
divers unknown men, unknown but
wonderfully gifted. In amongst these
Madonnas, too, there are few other
subjects, notably superb "Resurrec
ton" in terra Gotta (No. $500, by Sper-.
the Desert" (No. 420), by Rossellino.
This latter little marble, by the way,
should be studied especially as an IL
lustration Of Renaissance treatment of
landscape in sculpture.
The est jerome" leads us to the
more miscellaneous section of sculpture
in the exhibition, but before entering
it we must touch upon another special
group of works only second to that OF
the stuccos. This is the. group OF
glazed terra cottas Of Della Robbian
origin, numbering about fifteen pieces.
Magnificent in the midst of it is the
Madonna by Andrea (No. 372), which
is fortunately preserved in its original
tabernacle. This frame is embellished
with cherubims, and three also hover
above the Virgins head. The relief is
in white against the familiar blue back
ground. 1t is masterpiece of the first
trait medallions In this group, but Of
even greater interest are the several
arrnorial pieces. These especially we
would like to see purchased for the
Museum. Returning to the miscellane-
Gus sculptures we note three or four
polychromc busts, particularly the two
by Alegsandro Vittcria (Nos. 324 and
325) and an interesting early Pisan
Virgin, in wood (No. 358). The six
403) is a spirited work Of the period
The singular "Bast Of Mino Rossi," at
tributed to Francia (No. 4O5), and the
bust given to Arnolfo ono. 407) both
have mildly attractive qualities, but
neither quite carries conviction as re-
CARDS authorship. We are equally du,
bious about the "Venus and Cupid"
lNo. 42S) blithely ascrlbed to Cellini:
as remarkably like that Of the large
Venus by ceilini in the Louvre" as
the catalogue mas it. Why is it, we
wonder, that pretty nearly every col
lection Of Italian antiquities must soon
er or later sport its "Cellini"? There
IRE some amusing busts Of the six
teenth and seventeenth centuries,
clever things by Leone Lconi and
BGrnini, and Of the two Greek mar
bles the youthful Athlete" (No. 427.
has certain Importance. For the rest
we are most impressed by Signor Bar
dinps decorative sculptures, which in
cluae several very handsome mantel
pieces. The smaller works in bronze,
medallions and plaauettes, are fairly
numerous, and embrace some beautiful
and interesting examples. There is
fine impression Of Bertoldo's famous
"pazziD medal, and this, in its vivid
| historical Significance, is characteristic
| Of the tnedallic part Of Signor Bar
din;'a collection. His exquisite little
| daskg, magtcrpieccg Of a peculiar art,
| arc also priceless souvenirs Of Renais.-
sance life, culture and personality: A
medal like Matteo de Paktrs "Pan-
doifo MaIatesta" is like living key to
chapter in the annals Of Rimini. in
the p!aqpettes. az In the medals, re-
1'gion and mythology constantly pro.
vide the theme. but ut tbs bottom Of