Repository: UIHistories Project: Book - Gregory Art Collection Catalog (Gregory) [PAGE 19]

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34 170. ,fIelancthoH.-\Uui-vm.) A celebrated German divine, i" roadjutor with Luther in the Reformation. 171. Disraeli —English statesman, ltd* 1 7 2 . ~Mlcibiadrs.—A modern bust. Alelblades (450-404 B. C.) was ;i Greek famous for his rare personal charms, combined with a dissolute iharacter and lack of principle. He was a pupil of Socrates. *j©J »»0I 173. 1'iet or Hugo.— Great French novelist. 1 7 4 . C<M>p€r.—American novelist, AA/^^W.,J the characteristics of his style. work of one of his pupils. Vg f

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It is probable, however, that it is tin

1S3. .Hater Doloroset.— This is a companion piece to the IV. Homo, and by the same ar'ist. It represents the mother of Christ, sorrowing after his crucifixtion. These two pieces are fine specimens of the sculpture of the Renaissance.

tf6Vcrates. U0|7 175.

(2o _- 176. There are -^-<—«. 177. 41 y I7S.

Plato.

-(480-347 B. CM Grecian pbilosoper, disciple of So

Homer.--This is from the most famous bust of the great poet. copies of it in all the galleries. Jean Jaques Kou88eau.—(1712-l77S.) French writer. Racine.—(1689-16990 Noted French dramatist. BAS-RELIEFS.

LORENZO GHIBEBTI.—(1378-1456,) a Florentine sculptor and arebiect. Like oilier artists of his time he excelled in various departments of art. He imitated ancient medals, worked in bronze, painted and wrote, besides pursuing bis calling as an architect. /7 rJL. 17!). .irehitrave.— This is a east of the architrave of the ceiebratedGblbertl gates In the Baptistery at Florence. These doors are of bronze, consisting in all.oftwenfy panels, with the outside or bordei piece of fruits and (lowers, of which this architrave forms a part. When the seignory of Florence wished to procure these doors for the Baptistery, a competition was opened and seven illustrious artists made a bas-reliel of the " Sacrifice of Isaac" to exhibit their talent. Ghiberti was proclaimed victor and entrusted with the erection of the doors, tt is said that he devoted twenty one years to the labor. Michael Angelo declared that they were worthy to be call the " Gates <d' Paradise. 1 ' This architrave shows in no small degree the careful design ami beautiful finish that resulted from his years of toil. ISO. Panel representing the fieirden of Eden. -This Is one of the best of the twenty panels in the Ghiberti gate.-. It I elongs to the door made last, which consists often old testament seines, while t lie subjects represented in the first door are taken from the new testament. The subject here chosen is the garden of Eden. On one side we set tl creation of Adam, on the other the creation of Eve, and finally, the expulsion of the guilty pair from the gates of Eden. In these bas-reliefs Ghiberti dropped all the stiffness of manner which had characterized the rks of Iris predecessors, and displayed a boldness of cono ption ..ml i cent ion which astonished and delighted all Italy. Vasari speaking of tie gates says " this masterpiece is perfect in f\-vyy part anil i- the fine-' the world." 181. Peinel representing Cain and Jibel.—Adam tilling the field, Cain and Abel offering sacrifices, and finally. Cain killing his ther, are all represented in this panel. (See Nos. 179 and I s " .*-• Tu IS'2. Eecc Homo.— This relief representing Christ wearing the crown of thorns, is ascribed lo Michael Angelo, and possesses many of

1*4. .Issyrietn BeisHclief.— This is a cast from the series o: sculptures now in the British museum, excavated in 1847and 1850in tin great mound at Nimroud, (believed to lie the ancient Calah of scripture. on the left bank of the Tigris. " T h e walls of the palace of Nimroud, from which these works were taken, were decorated in horizontal compartments, alternately filled with sculpture, and with the (unciform character of the country, so that each wall presented a record of the deeds of the great kings." This lias-relief and the two following, were found in the temple of the god of war and belong to the period of San Ian a pal us tin Great,(930-902B.C.)the earliest Assyrian monarch of whom any large monuments have been procured. The sculpture represents some winged figure holding in his left hand a basket, and in the right a pine cone. The cone is emblematic of strength and pride, for the Assyrians are constantly likened to cedars on account of their high station and lame. 185. Hull Hunt.—(See No. 184.) This relief represents the k i n , in his chariot. Having wounded a bull lie seizes him by tin; horns and intlicis a deadly wound. " T h e s e Assyrian sculptures are exceedingly valuable, as embodying the characteristics of the Shemltic race, expj ed in their delight in ornaments, ear-rings, bracelets, fringed and embroidered robes, long beards and flowing hair." The execution of these figures is especially admired. 186. Lion Hunt*—(See No. 184.) The king standing in his chariot aims an arrow at the lion, whose attitude and open mouth express lb most In'.ense rage and fury. Two attendants are preparing to slay animal with daggers from behind. This bas-relief is considered oi the finest specimens of Assyrian art in existence. The grouping aril correct delineation of men an i animals as well as the extraordinary servation of the piece, renders it exceedingly interesting. 187. Shield. — This is a cast from a bronze shield of the Kenais' period in Paris. The relief on it representee battle scene. This is a tine specimen oi the brouze work which was much cultivated during that greatest period of modern art, which developed a Michael An. and a Raphael. v ' 188. Hercules and Cerberus.—This bas-relief represents Grecian heroin the act of performing his twelfth and las; labor,—bringing the three-headed watch dogo: Pluto, Cerberus, up from Hades in(o the light of .lay. ISO. Orpheus.—The famous musician, son of Apollband Call b/. • > who drew such sweet tones from his lyre that even the rocks and trees ' followed him as he played. 1 9 0 . Columns from the church of the trinity at Florence. 1 church was built in 1250, and the workmanship on it affords an admirable specimen of medieval art.

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