page_title: Arca di San Domenico
section_title: The crowning
hierarchical_section_title: Arca di San Domenico / The crowning
caption_attribution_description: upper front part; Basilica of Saint Dominic, Bologna, Italy
context_page_description: The Arca di San Domenico is a monument containing the remains of Saint Dominic. It is located in Dominic’s Chapel in the Basilica of San Domenico in Bologna, Italy.
context_section_description: The ambitious addition of a crowning to the sarcophagus was commissioned in 1469 to Niccolò da Bari to complete this funeral monument. Work at this elaborate spire continued till 1473.  But it is not clear why Niccolò did not complete his contract, even if he did continue intermittently at it until his death in 1494.
  On top of a candelabrum, rising from the cyma, stands the impressive statue of the Eternal Father. The candelabrum is held by two putti, symbols of the sky, and four dolphins, symbols of the sea, all covered with festoons with fruit, symbols of the earth.
  On the cornice at its base is in the middle a small Pietà, flanked by two winged angels (the Angel of the Annunciation and the Angel of the Passion), while on the four corners stand the four Evangelists in oriental robes. The lower part of the cyma is surrounded by several free-standing figures, the Patron Saints of Bologna: Saint Francis of Assisi, St. Petronius (began by Niccolò but finished by young Michelangelo in 1494), Saint Dominic and Saint Florian. On the back stand the statues St Anne, St John the Baptist (sculpted by Girolamo Cortellini in 1539), San Vitale and St. Proclus (Michelangelo, 1494 – the resemblance and the posture of this statue shows that he likely had his David already in mind at that time). 
  Niccolò also added the delicate Candlestick-holding Angel on the left side of the altar slab, below the sarcophagus, while the Angel on the right side with its youthful strength is by Michelangelo. Michelangelo was paid thirty ducats by his patron Francesco Aldovrandi.
  Because of the admiration he received for this splendid masterpiece, he was renamed Niccolò dell'Arca. Art critics perceive in this masterpiece a blend of influences: Burgundian, Florentine and non-Tuscan (such as details in clothing). The way these statuettes express their emotions and the patterns in their dresses and hair evoke the style of Jacopo della Quercia
caption: The elaborate spire.
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