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Saint George (Italian: San Giorgio) is a marble sculpture by Donatello. It is one of fourteen sculptures commissioned by the guilds of Florence [1] to decorate the external niches of the Orsanmichele church. St. George was commissioned by the guild of the armorers and sword makers, the Arte dei Corazzai e Spadai.
Saint George Freeing the Princess is a marble stiacciato bas-relief sculpture by Donatello, sculpted around 1416 or 1417. [1] It was originally situated under the same artist's Saint George on an external niche of the church of Orsanmichele in Florence; both works are now in the Bargello Museum, with replicas replacing them in their original positions.
Orsanmichele, with Donatello's Saint George left of the corner Another large-scale sculptural project in the city was the completion of the statues for the niches around the outside of the rectangular Orsanmichele , a building owned by the guilds of Florence , which was in the process of turning itself from a grain market to a church on the ...
Orsanmichele Orsanmichele, with Donatello's Saint George left of the corner. Orsanmichele (pronounced [orsammiˈkɛːle]; "Kitchen Garden of St. Michael", from the Tuscan contraction of the Italian word orto) is a church in the Italian city of Florence.
Donatello, the bronze David (1440s?), Bargello Florence, h.158 cm David is a bronze statue of the biblical hero by the Italian Early Renaissance sculptor Donatello , probably made in the 1440s. Nude except for helmet and boots, it is famous as the first unsupported standing work of bronze cast during the Renaissance , and the first freestanding ...
Donatello's Saint George, for the armourers and swordsmith's guild, at the Orsanmichele is in marble, but originally wore a bronze helmet and carried a sword. [23] Donatello also worked in wood, terracotta and plaster. Especially in the 15th century, many architects were sculptors by training, and several practised as both for most of their ...
Erasmo da Narni (Gattamelata) sits high on his horse, looking out to the distance. The emotion on his face is serious. Donatello portrays Gattamelata as a composed, alert and watchful leader. The depiction of force of character and the reference to the power of real people flows with the Renaissance themes of individualism and humanism.
The iconography of military saints Theodore, George and Demetrius as horsemen is a direct continuation of the Roman-era "Thracian horseman" type iconography.The iconography of the dragon appears to grow out of the serpent entwining the "tree of life" on one hand, and with the draco standard used by late Roman cavalry on the other.