File:In and out of Florence; a new introduction to a well-known city (1910) (14759585366).jpg

Identifier: inoutofflorencen00kell (find matches)
Title: In and out of Florence; a new introduction to a well-known city
Year: 1910 (1910s)
Authors: Kellogg, Vernon Lyman, 1867-1937
Subjects:
Publisher: New York: Holt
Contributing Library: The Library of Congress
Digitizing Sponsor: Sloan Foundation

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ing in and out of them, and thread-ing narrow shelving paths and roads among them,many men and carts and horses and donkeys. Theseare the great quarries from which, age-long, the free-stone has come for the pillars and palaces of Florence.And as one drives or rides by tram to Fiesole orMaiano or Settignano, he sees by the roadway occa-sional rough sheds from which come the sounds ofrock-chipping and about which are stone splinters anddust. In the caverns on the hill-side are the roughquarriers and hewers of stone; in the sheds are theskilled workmen, the dressers and carvers of free-stone and marble. And from these hill-side schoolsof lithologic industry and art have come those gradu-ates, those exceptional few, whom we call the stone-carver sculptors or the sculptors from the hill-sidequarries. Matriculating as humble stone-masons,they have graduated as skilled and endowed sculptors.Mino da Fiesole, Benedetto da Maiano, Deslderioda Settignano, and the brothers RossellinI from the 184
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Tomb Monument of Carlo Marzuppini Desiderio da Settignano: Santa Croce The Hill-side Sculptors 185 same village, Benedetto da Rovezzano and a fewothers less distinguished, are the names that composea special list of alumni of this primitive hill-sideschool of art. Most of the other Tuscan sculptors of fame havehad another sort of instruction and apprenticeship.They have come from the goldsmith shops of the city.And this difference in early instruction and characterof the ateliers is revealed at once in the markedlydiffering manner of work and conception of the twogroups of sculptors. The city pupils began from thefirst to work on the human face and figure; the quarryand stone-carver sculptors learned first architecturaldetail and decoration. And through all their workthis familiarity with the forms of pillar and capitaland pediment, and this facility in decorative treat-ment, stand out conspicuously. Tombs, tabernacles,and pulpits, with decorations and figures in relief, aretheir prin

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