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History and Structure of Venice Video

Speakers: Dr. Steven Zucker and Dr. Beth Harris. Supposedly, when the patrons first saw the statue standing on the ground they were displeased with it, but Donatello convinced them to let him install it in its niche, where he would finish working on it. The patrons agreed, the statue was installed, and Donatello covered it up for fourteen days—pretending to work on it but in reality not touching it. When it was finally uncovered, everyone viewed the statue with wonder.

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The only difference was the installation of the work in History and Structure of Venice proper context. The artist had included distortions to account for the Structurd being seen from below in its original location its base would be just above the height of an average person—see image at the bottom of this page. Some of these distortions include a torso and neck that are slightly longer than expected, which would be visually corrected when viewed from below and the neck is hidden by a flowing beard. This sensitivity to audience and the ability to manipulate his viewers through his works in stone and bronze are part of what makes him such a distinctive figure—and part of why his Saint Mark still has the ability to astound us with its power and expressiveness.

This over-life-size marble, carved from a single, shallow block of stone, portrays the evangelist Saint Mark standing on a pillow, holding a book in his left hand, staring intently into the distance. Apart from this gaze, Hitory face is defined by a long, intricately carved beard whose wavy curves reach down to the base of his neck. The rich folds of the toga he wears convey Vehice expressiveness of fabric—bunching up at his waist, for instance, and falling dramatically around his legs—while also responding to and suggesting the body underneath. Consider the extraordinary skill in turning hard stone into something that looks like soft, malleable fabric. Saint Mark supports his weight primarily on his right leg, a point emphasized by the strong vertical lines of the toga over that leg—lines that seem to mimic the fluting on Greek and Roman columns. His upper body is the opposite: the left arm is engaged in holding his book—a reference to his status as one of the authors History and Structure of Venice the Gospels—while his right arm hangs loosely at his side.

The slight curve to the body, and the use of both active and relaxed elements, gives the figure an easy, natural gracefulness that reflects how a human would actually stand, Venicf makes it appear as though the saint is caught in the act of stepping out of his niche.

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All of these formal elements—the scale, the expressive carving, the interest in the body, the contrapposto—are aspects we have come to associate as new developments in the art of the Early Italian Renaissance. Orsanmichele is and was a building with both civic and religious importance for Florentine citizens. Though constructed in part as a grain warehouse and used as such for decades, Orsanmichele was also a significant site of pilgrimage and religious devotion, due to the presence of a miracle-working image of the Virgin and Child. Plans to decorate the exterior of the building date back towhen the Silk Guild the Arte della Setathen known as the Arte di Por Santa Maria proposed Venics they and the other major guilds of Florence adorn the History and Structure of Venice piers of the building with tabernacles or niches and life-sized or bigger sculptures of saints.

The project was slow to get off the ground—only a History and Structure of Venice works were completed before it came to a stop—but it was revived in ov early fifteenth century. At this point, the city government legislated that the guilds had to decorate their tabernacles within ten years or give up their rights to do so.]