Luca Della Robbia: The Cantoria

Detail of the "Cantoria" by Luca della Robbia

"Luca Della Robbia had scarcely completed his fifteenth year, when he was taken with other young sculptors to Rimini, for the purpose of preparing certain marble ornaments and figures for the lord of that city, who was then building a chapel in the church of San Francesco. It was for a sepulchre for his wife, who had recently died. In this work Luca gave a creditable specimen of his abilities which are still to be seen there, but he was soon recalled to Florence. 

There he executed five small historical representations for the cathedral of Santa Maria del Fiore. These were placed on that side of the tower beside figures delineating the arts and sciences by Andrea Pisano. 

He was also commissioned by Messer Vieri dei Medici, a great and popular citizen of that day, by whom Luca was much beloved, to prepare the marble ornaments of an organ which was being constructed on a very grand scale. Luca executed certain stories, which were represented by singing choristers. He gave these such earnest attention and succeeded so well, that although the figures are high up, the spectator can nevertheless distinguish the inflation of throat in the singers, and the action of the leader as he beats the measure with his hands, with all the varied modes of playing the instruments. On the grand cornice of this work, Luca erected two figures of gilded metal, representing two angels and finished with great skill, as indeed is the whole piece, which was held to be one of rare beauty. 

However, Donatello, who afterwards constructed the ornaments placed opposite to this, displayed much greater judgment and more facility than had been exhibited by Luca. For Donato completed his work almost entirely from the rough sketches, without delicacy of finish, so that it actually has a much better effect in the distance than that of Luca, which, although well designed and carefully done, becomes lost to the observer in the distance.

And this is a point to which artists should give much consideration, since experience teaches us that whatever is to be looked at from a distance, whether painting, sculpture, or any other work of similar kind, has ever more force and effect then merely a striking and beautiful sketch when delicately finished. It would appear, also, that the poetic fire of the author frequently acts with most efficiency in a rapid sketch, by which his inspiration is expressed in a few strokes suddenly thrown off in the first ardours of composition. A too anxious care and labour will often deprive the works of him, who never knows when to take his hands from them, of all force and character."

To be continued

(Excerpts from "Lives of Seventy of the Most Eminent Painters, Sculptors and Architects" by Giorgio Vasari.)