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SUBJECTS:
• The demand for sculpture in the 15th and 16th centuries remained
chiefly ecclesiastical. The exteriors of churches were decorated with
sculptures, not only around and over the portals, but sometimes the
entire facade was covered with statues in niches and reliefs of figured
or decorative design.
• In the interiors were sculptured altar-pieces, pulpits, choirs, galleries,
fonts, ciboria, tabernacles, candlesticks, single statues of saints and
angels, crucifixes, Madonnas, and sometimes large groups of statues.
• Palaces and private houses were provided with sculptural ornament
about their portals, with friezes and chimney pieces, carved or
moulded ceilings, decorative furniture, portrait statues and busts,
statuettes, and a host of useful objects which were carved or beaten or
moulded into beautiful forms. Open squares and private gardens were
adorned with statues and fountains and vases, executed by the most
distinguished sculptors. Even the country highways had their shrines,
with crucifixes or reliefs of Madonnas or saints, frequently a
reproduction in terracotta or stucco of the work of a master.
• The subjects of ecclesiastical sculpture were naturally selected from
the Old and New Testament and from the lives of the saints. The
Madonna with the Child is the most universal and characteristic subject
during the Early Renaissance. Later she appears frequently
accompanied by saints. Legends from the life of Christ, of the
Madonna, of St. Francis or of special patron saints, were common in
sculpture as in painting. Decorative motives of classic origin were
freely introduced into ecclesiastical sculpture, but mythological
subjects more rarely.
• The precious metals, gold and silver, played a less important role than
in the Gothic period. The goldsmith's atelier continued for a time to be
the art school from which issued architects, sculptors, and painters.
But his influence was gradually restricted to work in the precious
metals, and the arts became more independent of each other.
• Bronze now assumed a more important role, being used for reliefs first,
then for statues, busts, candelabra, and minor objects. It was a favorite
material with Renaissance artists, not only on account of its durability
and ductility, but also because of its brilliant effect when gilded.
• In stone sculpture the growing demand for delicate and refined form,
notably in decorative detail, led to an extensive use of marble and the
finer calcareous stones, such as the pietra d' Istria, and the finer
sandstones, such as the pietra serena. The white Carrara marble was
extensively used for monumental sculpture, but was softened in color
by the use of wax. Details such as the hair, angels' wings, ornaments
of robes, and architectural mouldings were usually gilded. The
background, when not sculptured, was commonly colored a grayish
blue. Highly polychromatic marble sculpture was rare.
• The sphere of sculpture was considerably enlarged by the use of
terracotta. This afforded a cheap substitute for marble, and when
glazed was equally durable.
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