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95:, one of the Sienese artists involved in the project, who was not completing his work at the speed the Opera del Duomo desired. The transfer of this commission, and the commencement of Donatello's work on the project, took place in 1423, when an initial advance payment for the relief was made to Donatello. The final payment to Donatello was made in 1427 when the finished relief was collected from Donatello's workshop in Florence and transported to Siena. The original commission specified that the scene to be depicted was the moment "just as the head of St. John was brought to the table of the king", which Donatello expanded into the scene now known as the
139:'s exploration into a linear perspective system involving orthogonals (diagonal lines that meet at a central vanishing point) and transversals (the lines crossing these orthogonals) which work together to draw the eye to the vanishing point and create an illusion of space on a two-dimensional surface. Donatello manipulated this system slightly, by having the focal point lead to a "V" of open space, encouraging the eye to move across the panel to the two separate groupings, rather than focusing on any one element. The inclusion of linear perspective would later become a standard element in Renaissance painting and sculpture, after being described by
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in
Florence. Donatello used schiacciato carving to create atmospheric effect and to give the impression of greater depth. In order to create this depth, Donatello relied on the contrast between the low and high relief. The inclusion of low relief, in the architecture of the layered arches and in the
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that illustrates multiple scenes of a narrative within a single frame) to illustrate the scene and portray John’s martyrdom without explicitly showing the beheading
Another way that Donatello's work differs from previous representations of the scene is the emotional expressiveness of the figures, as
91:. According to the original plans, the six relief sculptures, which were to adorn the sides of the hexagonal font, were to be completed by Ghiberti and two local Sienese artists. Donatello's commission for the Feast of Herod relief was added to replace one of the reliefs of
123:(1330–1336), Salome's dance, the beheading of St. John, and the presentation of the head to King Herod, were separated into different scenes. Donatello brings these elements together, using continuous narrative (a type of
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background figures, allows for specific elements to appear farther away, while the high relief brings attention to the more highly detailed figures in the foreground, which seem to extend out into the viewer's space.
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Another way that
Donatello described the space in which the scene takes place was through his use of high and low relief. One technique that Donatello implemented in his Feast of Herod is the use of
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in Italy. It is one of
Donatello's earliest relief sculptures, and his first bronze relief. The sculpture is noted for Donatello's use of
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to the scene, which in turn brings attention to the important focal points and figures. Donatello was inspired by his contemporary
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was invited by the officials of the Opera del Duomo of Siena to work as an advisor and designer for the commission of a new
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for his head on a platter. The scene depicts an executioner presenting the severed head, and Herod reacting in shock.
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The Mirror, the Window, and the
Telescope: How Renaissance Linear Perspective Changed our Vision of the Universe.
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combines a few different elements commonly included in the
Baptist cycle (the important events in the life of
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The Siena
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The addition of architectural elements allowed for the incorporation of
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Herod and his companions react to the severed head as it is presented.
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Donatello and His World: Sculpture of the
Italian Renaissance.
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Translated by Russel
Stockman. New York: H.N. Abrams, 1993.
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The
Ascension with Christ Giving the Keys to Saint Peter
416:Transactions of the American Philosophical Society
412:Optical Corrections in the Sculpture of Donatello.
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407:New Jersey: Princeton University Press, 1963 .
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52:circa 1427. It was made for the font of the
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439:. “The Fifth Centenary of Donatello,” in
344:The Mirror, the Window, and the Telescope
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397:Ithaca: Cornell University Press, 2009.
63:The sculpture depicts the beheading of
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119:'s reliefs on the South Doors of the
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907:Cultural depictions of Herod Antipas
738:Madonna and Child with Four Cherubs
629:Tomb of Cardinal Rainaldo Brancacci
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34:Battistero di San Giovanni (Siena)
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579:Saint George Freeing the Princess
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32:(1423–1427), baptismal font,
441:Essays on Italian Sculpture.
426:New York: Garland Pub, 1979.
357:"Donatello's Feast of Herod"
276:Essays on Italian Sculpture,
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797:Basilica del Santo Crucifix
623:Tomb of Antipope John XXIII
405:The Sculpture of Donatello.
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331:The Siena Baptistry Font
318:The Siena Baptistry Font
237:Donatello and His World,
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892:Sculptures by Donatello
610:Saint Louis of Toulouse
292:Donatello and His World
710:Saint John the Baptist
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16:Sculpture by Donatello
848:Judith and Holofernes
643:The Baptism of Christ
617:San Rossore Reliquary
393:Edgerton, Samuel Y..
143:in his 1435 treatise
141:Leon Battista Alberti
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703:Putti candle-holders
689:Madonna of the Cords
550:Huldschinsky Madonna
528:Santa Croce Crucifix
514:Madonna of the Apple
371:on November 18, 2014
305:Optical Corrections,
224:Optical Corrections,
137:Filippo Brunelleschi
113:St. John the Baptist
93:Jacopo della Quercia
545:(marble, 1408–1409)
437:Pope-Hennessy, John
429:Poeschke, Joachim.
422:Paoletti, John T..
121:Florence Baptistery
825:Penitent Magdalene
651:The Feast of Herod
455:The Feast of Herod
133:linear perspective
41:The Feast of Herod
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723:Madonna and Child
717:Sagrestia Vecchia
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373:. Retrieved
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361:Smarthistory
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44:is a bronze
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851:(1457–1464)
841: 1455
828:(1453–1455)
812: 1450
799:(1444–1447)
776: 1440
761: 1440
753:Amore-Attis
746: 1440
731: 1440
705:(1434–1439)
697: 1433
682: 1428
667: 1425
636: 1427
625:(1424–1427)
619:(1424–1427)
613:(1423–1425)
605:(1423–1425)
597:(1418–1420)
587: 1415
568:(1411–1413)
558: 1410
535: 1406
522: 1400
375:January 24,
153:schiacciato
103:Description
58:perspective
48:created by
881:Categories
565:Saint Mark
506:Sculptures
388:References
342:Edgerton,
329:Paoletti,
316:Paoletti,
290:Poeschke,
248:Paoletti,
235:Poeschke,
209:Paoletti,
79:Commission
786:(bronze,
499:Donatello
464:(Italian)
83:In 1416,
50:Donatello
26:Donatello
778:or 1460)
594:Marzocco
303:Munman,
261:Janson,
222:Munman,
151:rilievo
859:Related
602:Zuccone
843:–1460)
820:(1453)
763:–1443)
713:(1438)
699:–1435)
684:–1430)
669:–1430)
654:(1425)
646:(1425)
638:–1428)
589:–1417)
560:–1430)
537:–1408)
524:–1425)
346:, 120.
294:, 388.
158:relief
69:Salome
67:after
783:David
542:David
333:, 49.
320:, 50.
265:, 65.
197:Notes
71:asks
576:and
377:2013
239:387.
363:at
307:35.
278:33.
252:39.
226:36.
213:44.
28:'s
883::
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