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SCULPTURE .—See also:Florence, 1489-1494.-" See also:Head of a Faun," See also:marble; lost. Condivi describes See also:Michelangelo's first See also:essay in sculpture as a head of an aged faun with a front tooth knocked out, this latter poini having been an afterthought suggested by Lorenzo dei See also:Medici. The .See also:lead is sometimes identified with one in the See also:National Museum at Florence, which however bears no marks of Michelangelo's See also:early See also:style and is in all See also:probability See also:spurious.—" Madonna seated on a Step," See also:bronze; Casa Buonarroti, Florence. This bas-See also:relief, executed in See also:imitation of the technical style of See also:Donatello, is a genuine example of Michelangelo's early See also:work in the Medicean school under Bertoldo.—" Centauromachia," marble; Casa Buonarroti. A See also:fine and genuine work in full relief, of probably somewhat later date than the last-mentioned. The subject occurs often in See also:ancient See also:sarcophagus reliefs: Michelangelo has followed the See also:antique in his conception and treatment of the nude, but the arrangement of the subject is his own.
See also:Bologna, 1494-1495.—Statuettes of " St See also:Petronius," " St Proculus," and a " Kneeling See also:Angel," marble; See also:part of the decorations of the See also:shrine of St See also:Dominic in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of that See also:saint at Bologna: the style of all three much influenced by the work of Jacopo della Quercia in the same church; the attitude of the kneeling angel with the See also:candelabrum imitated from an ancient bas-relief.
Florence, 1495-1496.—" St See also:John in the See also:Wilderness," executed for Lorenzo di Pierfrancesco dei Medici, marble; probably lost. Declared in 1874 to have been found again in the See also:possession of See also:Count Gualandi-Rossalmini at See also:Pisa. Vehement and prolonged discussion arose as to the authenticity of this newly-found S. Giovannino, and at last it was bought for the See also:Berlin Museum, where its genuineness is still stoutly maintained. But the finicking and affected elegance of the conception denote a different temperament from Michelangelo's and probably a later date. With this figure must be given up also the restoration of an antique See also:group of " Bacchus and Ampelus " at the Uffizi, which is clearly by the same See also:hand and is claimed also as an early work of Michelangelo.—" Recumbent See also:Cupid," bought by the See also:cardinal See also:San Giorgio as an antique, marble; lost. The attempts to recognize it in certain extant copies or servile imitations of the antique, especially one now at See also:Turin, must be held mistaken.
See also:Rome, 1495-1501.—" Virgin lamenting the dead See also:Christ," commissioned by the See also:- ABBOT (from the Hebrew ab, a father, through the Syriac abba, Lat. abbas, gen. abbatis, O.E. abbad, fr. late Lat. form abbad-em changed in 13th century under influence of the Lat. form to abbat, used alternatively till the end of the 17th century; Ger. Ab
- ABBOT, EZRA (1819-1884)
- ABBOT, GEORGE (1603-1648)
- ABBOT, ROBERT (1588?–1662?)
- ABBOT, WILLIAM (1798-1843)
abbot de la Grolaie; marble, St See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter's, Rome.—" Bacchus and See also:young Faun," commissioned by Jacopo Galli; marble, National Museum, Florence. (Of these two masterpieces of Michelangelo's youth enough has been said above).—" Cupid," commissioned by the abbot de la Grolaie; marble; lost; has been commonly identified as the " Kneeling Cupid " of the See also:Victoria and See also:Albert Museum, but this, if by Michelangelo at all, which is not quite certain, must in all likelihood belong to a later See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time.
Florence, 1501-1506.—" Five See also:Saints, in niches decorating the shrine of See also:Pius II.," commissioned by the See also:Piccolomini See also:family; marble; See also:cathedral of See also:Siena. The See also:contract for the sculptured decoration of this shrine was one of those which the pressure of other work pre-vented the artist from ever taking seriously in hand. Of the five saints in niches, traditionally reputed to be his work, the St Peter alone shows any clear marks of his style; the other four were probably designed, and certainly carried out, by weaker hands.—" See also:David " (the " Gigante "), commissioned for the See also:city of Florence by See also:Piero See also:Soderini; marble; Florence See also:Academy. Besides what has been said above, it has only to be added that a See also:wax See also:model in the Casa Buonarroti, showing nearly the same See also:design with a different See also:movement of the legs, is probably Michelangelo's See also:original See also:sketch for the subject. " David," commissioned by See also:Pierre See also:Rohan: bronze, lost; a See also:clay model in the National Museum, Florence, may probably be a sketch for it; more than one bronze has been brought forward with claims to be the original, but. none has stood the test of See also:criticism. " Virgin and See also:Child," commissioned for Taddeo Taddei; circular relief, unfinished, marble; See also:London, Royal Academy. The See also:motive of the Christ-child frightened by the flutterings of the See also:bird held out by St John is the most playful in all Michelangelo's work; the whole design shows the See also:influence of Leonardo in his gentler, as much as the See also:cartoon of the " Bathers " shows it in his more violent, moods." Virgin and Child with St John," commissioned by Bartolommeo Pitti; nearly circular relief, unfinished, marble; Florence, National Museum: a more tranquil and very charming presentment. " Madonna and Child," sold to the Mouscron family of See also:Bruges (known in See also:Italy as Moscheroni), and by them presented to the church of Notre See also:Dame in that city; group in the See also:round, marble; church of Notre Dame, Bruges. A meditative seated Virgin with upright head, the naked child seated between her knees, his smoothly rounded See also:form in strong contrast with her complicated draperies. " St See also:Matthew ": one of a set of twelve statues of Apostles commissioned by the consuls of the Arte della Lana for the cathedral at Florence; marble; National Museum, Florence. Unfinished (only roughly blocked out), the other figures of the set never having been so much as begun; the contract was signed in 1503 and cancelled in 15o5. There is an early See also:drawing by See also:Raphael from this statue.
End of Article: SCULPTURE
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