Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/78

given to the hands and feet, how graceful are the attitudes, and what heroic gravity have those heads!^[1]

While Giovan-Francesco was modelling this work in clay, he would permit no one to be about him but Leonardo da Vinci; and he, whether in the preparation of the moulds, the securing of these with their irons, or whatsoever other part of the process was in hand, never left his side; some are therefore of opinion—but they know nothing beyond what I here say—that Leonardo worked at this group with his own hand, or that he at the least assisted Rustic! with his counsel and good judgment. These statues, which are the best and most perfectly executed of any that have ever been produced in bronze by a modern master, were completed at three castings, and were chiselled at that house of the Via de’ Martelli, in which, as we have said, Giovan-Francesco had his abode; as were also the ornaments which surround the figure of San Giovanni, with the two columns, the cornices, and the devices of the Guild of the Merchants, which all form part of the work.^[2]

Near the figure of San Giovanni, which is one of singular power and animation, is that of a bald and somewhat corpulent man, also very finely done; the right hand of this figure is placed on his side, one of the shoulders is partially nude, with the left hand he holds a scroll before his eyes, and standing with the left leg crossed over the right, he is waiting in a most thoughtful attitude for the moment when he may utter the reply which he has manifestly prepared for the Baptist.^[3] The vestments of this figure exhibit textures of two kinds; one of a slight and thin fabric, which floats about the nude parts of the form; the other much thicker and firmer, of which the mantle worn over the lower vestments is composed; the folds of these draperies are singularly

1. The praises bestowed by Vasari are in no degree exaggerated. Cicognara, writing two centuries and a half after him, has spoken of these works in the following terms;—“Three of the most admirable figures produced by Sculpture in the commencement of the age here in question, are to be seen on that gate of the Florentine Baptistery which looks towards the House of Works, and these may truly be accounted among the most perfect productions exhibited by the Art of that period.” See Storia della Scultura, &c.
2. All still retain their places.
3. In the Storia of Cicognara, above cited, this figure is engraved in outline. See Plate lxxii.