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Alumni Bulletin Jan. 15

Sculptor's Model of the Renaissance

In the Great Hall of the Fogg Art Museum, lovers of Italian sculpture will see a fifteenth-century sculptor's model of the Madonna and Child, in cloth, wood, and stucco. The statue primarily consists of the cloth drapery of the Virgin's robe arranged in folds and stiffened by glue and plaster for the sake of permanence. The drapery is supported by a wood and iron frame which is modeled in places to produce the effect of sculpture in the round. X-ray examination proves the statue to be an authentic fifteenth-century work. Stylistically it is very close to Verrocchio, who, it is known, constructed such figures as this. Whether it actually is by Verrocchio it is impossible to prove, but as an example of a fifteenth-century sculptor's model of the type used by the great artists of the Renaissance, it is of outstanding importance.

Verrocchio, according to Vasari, made three such figures of Lorenzo de' Medici in commemoration of Lorenzo's escape from the Pazzi conspiracy, 1478. The Lorenzo figures were of wax over a wooden armature, and it seems plain that such types of figures were not unknown to Verrocchio. The slender form and greater simplicity of the quattrocento style is seen in the Fogg Museum figure. One need not stretch one's imagination too far in order to see the resemblance to the terracotta Madonna and Child in the Bargello, attributed to Verrocchio. Indeed, it has been said that the Fogg Madonna is similar to the marble relief of the Madonna and Child also in the Bargello.

Certain pupils of Verrocchio may, however, have constructed this statue. Francesco di Simone Ferrucci was a close imitator and disciple of Verrocchio. It was Ferrucci who reproduced the figure of the "Virtues" made originally for the tomb of Francesco Tornabuoni's tomb. Except for these copies, however, Ferrucci's work lacks the force and character of Verrocchio's. Leonardo da Vinci, the greatest of Verrocchio's pupils, often made such models for the study of drapery folds, but there is nothing in the style of the Madonna and Child at the Fogg Museum to suggest the hand of the great Leonardo. Vasari records also that Agnolo di Paolo and Lorenzo di Credi as Verrocchio's pupils, but since no similar work by either of the two exists with which to compare the Fogg Museum cloth and gesso statue, there seems to be less reason for attributing the figure to them than to their master, Verrocchio.

The history of this statue has been varied. Originally it belonged to a convent of sisters, who, realizing its deplorable state—dirty, broken in places, and minus the Child—decided to substitute for it an image more fitting for their altar. Thus the Madonna passed into the hands of various antique dealers, none of whom realized its worth. A Sicilian antiquarian living in Florence finally purchased the Madonna, brought it from Palermo, and attempted to restore it, but succeeded only in harming it more. While the Madonna, badly restored, and minus the Child, languished in the shop of the Sicilian, it was inspected by Guido Fallini, a sculptor-restorer, who saw beneath the grime, repaint, and restorations, the value of the statue. Fallini forthwith started his restoration, as he tells in his letters from Florence of that time, 1929, first by removing all previous restorations, such as the hands and Child, both of modern manufacture, then by carefully cleaning the drapery and the untouched parts of the head and right hand. He also strengthened the folds of the drapery with glue, small nails, and "stoppa" (felt wadding used for guns), dipped in glue.

The original Christ Child was missing, but Fallini narrates that he was able to secure the figure of the Child from the same convent from which the statue originally came, where it had lain hidden in an urn for years.

The question arises, why should the Child's body be of terra-cotta with a stucco surface, while the Madonna's head and hands are of stucco. It has been suggested that the Virgin's head and the Christ Child do not belong to the same statue, and, even, that the inconsistency reveals the hand of a forger. Experts say, however, that consistency of material is not a requisite in a sculptor's model which is only a temporary

The image is a page from the "Alumni Bulletin" dated January 15. The main focus of the article is a description of a sculpture model of the Renaissance, specifically the Madonna and Child by a fifteenth-century sculptor.

Here are the key details:

1. Sculpture Description:

   • Located in the Great Hall of the Fogg Art Museum, it is a model of the Madonna and Child.
   • The statue is made of cloth draped over a wooden and iron frame, giving it a realistic appearance.
   • X-ray examination confirms it is an authentic fifteenth-century model.

2. Stylistic Analysis:

   • The sculpture’s style closely resembles that of Verrocchio, a prominent sculptor from the Renaissance period.
   • Verrocchio is noted for his work in creating similar figures of the Madonna and Child, though this specific model is not directly attributed to him.

3. Historical Context:

   • Verrocchio created wax figures in commemoration of Lorenzo de’ Medici’s escape from the Pazzi conspiracy.
   • These figures were later transformed into marble statues, showcasing Verrocchio’s ability to mimic and enhance the drapery and marble texture.

4. Comparison and Attribution:

   • The article mentions several Verrocchio pupils, such as Francesco di Simone Ferrucci, who made similar models.
   • The Fogg Museum's model is compared to known works by Verrocchio and his pupils, noting its stylistic similarities.

5. Historical Restoration:

   • The statue has undergone multiple restorations, including by Guido Fallini, who restored it in 1929 by removing modern additions and repairing the damaged parts.
   • Fallini's efforts revealed the original state of the statue, though some parts, like the Christ Child, were missing or altered.

6. Historical Context and Conventions:

   • The article hints at the historical context of the statue’s creation and how it was originally intended to be part of a religious or commemoration context, possibly linked to the Medici family.

The article provides a thorough exploration of the historical, stylistic, and restorative aspects of this fifteenth-century sculpture model.

The image displays a page from an alumni bulletin dated January 15, featuring an article titled "Sculptor's Model of the Renaissance." The article discusses a fifteenth-century sculptor's model of the Madonna and Child, located in the Great Hall of the Fogg Art Museum.

Key points of the article include:

1. Description of the Statue: The statue is primarily made of cloth draped in folds and stiffened with glue and plaster, supported by a wooden and iron frame. It is a model meant to produce the effect of sculpture in the round, with an X-ray examination suggesting it is an authentic fifteenth-century work.

2. Attribution to Verrocchio: The article suggests that the statue is very close to Verrocchio's style, although it is not conclusively proven to be by him. It is noted that Verrocchio created such figures for his students, including Leonardo da Vinci.

3. Historical Context and Restoration: The statue was originally part of a convent and later passed through various antique dealers. Guido Fallini, a sculptor-restorer, restored it in 1929, removing previous restorations and cleaning the original parts. The Christ Child was missing and later found in an urn, with the Virgin's head and Christ Child's head being made of different materials.

4. Comparison with Other Works: The article mentions that other pupils of Verrocchio, such as Francesco di Simone Ferrucci and Leonardo da Vinci, created similar models, but none are as similar in style to the Fogg Museum statue as Verrocchio's originals.

5. Implications and Conclusion: The article concludes that the style of the Madonna and Child statue at the Fogg Museum is so close to Verrocchio's work that it is reasonable to attribute it to him, despite the lack of definitive proof.

The overall aim is to highlight the significance of this sculpture as an important example of Renaissance art and a model used by artists of that era.

The image displays a page from an "Alumni Bulletin" dated January 15, featuring an article titled "Sculptor's Model of the Renaissance." The article discusses a fifteenth-century sculptor's model of the Madonna and Child, currently housed in the Fogg Art Museum.

Key points from the article include:

1. Description of the Statue:

   • The statue is composed of cloth, wood, and stucco.
   • It primarily consists of a cloth drapery of the Virgin's robe arranged in folds and stiffened with glue and plaster.
   • The statue is supported by a wood and iron frame.
   • The model aims to capture the effect of sculpture in the round.

2. Authenticity and Style:

   • The model is believed to be an authentic fifteenth-century work.
   • It is stylistically close to the work of Verrocchio, a renowned sculptor, though it is not definitively proven to be his.
   • Verrocchio created similar figures for Lorenzo de' Medici, with one being in the Fogg Museum and another in the Bargello Museum in Florence.

3. Historical Context and Provenance:

   • The statue was originally part of a convent's collection, where it was hidden and deteriorated.
   • Guido Fallini, a restorer, acquired and restored the statue, removing modern additions and cleaning the original surfaces.
   • The statue's history includes being damaged, restored, and passed through various hands before being acquired by the Fogg Museum.

4. Restoration Details:

   • Fallini's restoration involved removing previous restorations and cleaning the drapery.
   • He also strengthened the folds of the drapery and replaced the missing Christ Child, which was found in an urn.

5. Expert Opinions and Analysis:

   • The article discusses the artistic merit and significance of the statue, emphasizing its resemblance to Verrocchio’s style.
   • It notes that the statue's construction and materials are typical of the period, indicating it was likely used as a temporary model for more permanent sculptures.

Overall, the article provides a detailed account of the statue's historical background, artistic significance, and the restoration process.

The image displays a page from the "Alumni Bulletin" dated January 15. The main article on the page is titled "Sculptor’s Model of the Renaissance."

Summary of the Article:

Introduction:
In the Fogg Art Museum, an exhibit features a fifteenth-century sculptor’s model of the Madonna and Child, crafted in cloth, wood, and stucco. This model is believed to be from the workshop of Andrea del Verrocchio, a prominent Renaissance artist.

Description and Importance:
The model primarily consists of the cloth drapery of the Virgin Mary's robe, arranged and stiffened by plaster for permanence. The figure's head and hands are modeled in wax to create a realistic three-dimensional effect. This model is considered an authentic fifteenth-century work, closely resembling known works by Verrocchio.

Comparison with Other Works:
The article mentions that Verrocchio often used similar models, and this particular statue resembles figures in his other works, such as the terracotta and marble Madonnas by Verrocchio and his pupils. Lorenzo de’ Medici’s escape from the Pazzi conspiracy is noted for its similar figural style.

Restoration and History:
The statue was part of the collection of Sir William Abdy, later purchased by the Fogg Museum. Initially, it was in a deteriorated state, missing the Christ Child figure. Guido Filli, a restorer, cleaned and repaired the statue, removing previous restorations and revealing the original folds of the drapery.

The restorer noted the figure was originally intended to be viewed from below, indicating it was possibly a model for a larger statue. The Christ Child was reconstructed based on the remaining cavity.

Conclusion:
The article concludes by affirming the statue's value as a model from Verrocchio’s workshop, aiding in the study of Renaissance drapery and sculpture techniques. The history of the statue, including its restoration, enhances its importance for scholars and art enthusiasts.

The image is of a document titled "Alumni Bulletin" dated January 15. The document contains an article titled "Sculptor’s Model of the Renaissance."

The article discusses a sculpture displayed in the Great Hall of the Fogg Art Museum, which is a model of a Madonna and Child, constructed with cloth, glue, plaster, and stucco. The sculpture is primarily made of cloth drapers arranged to resemble the Virgin's robe, with a wooden and metal framework supporting it. X-ray examination reveals the statue to be authentic and likely from the fifteenth century. The work is attributed to Verrocchio, a renowned sculptor from the Renaissance period.

The article explores the significance of this sculpture, noting that it is a rare example of the type of model used by great Renaissance artists. Verrocchio, who created such figures, is known for his contributions to the art of the period. The article also mentions that Verrocchio's pupils, including Leonardo da Vinci, made similar models for study.

The history of the statue is detailed, noting its varied ownership and restoration attempts. Originally thought to belong to a convent, it was later owned by various antique dealers. The article describes the restoration efforts, including the replacement of the Christ Child figure, which was found to be of modern manufacture. The restoration was carried out by Guido Calore, a sculptor-restorer, who cleaned the statue and repaired the drapery and untouched parts.

The article concludes by questioning the inconsistency in the materials used for the Virgin's head and the Christ Child, suggesting that the Virgin's head and the Child do not belong to the same statue, highlighting the complexities and inconsistencies in the restoration of such historical artifacts.

This image is a scanned page from what appears to be a historical or scholarly document. The top part of the page reads "Alumni Bulletin Jan.15." The majority of the page is taken up by a two-column text with the title "Sculptor’s Model of the Renaissance" in a larger font. The text discusses an exhibit at the Fogg Art Museum, where visitors could see a 15th-century Italian sculptor's model of the Madonna and Child. It describes details about the materials used (clay, cloth, wood, and stucco), the use of X-ray examinations to study the statue, and mentions the Statuine Virgin's origins and related history, including a reference to Verrocchio, his pupils including Leonardo da Vinci, and the historical context of Lorenzo de' Medici's escape from the Pazzi conspiracy.

The text content is quite dense and academic, suggesting the document is targeting an educated and interested audience, such as alumni of a university or members of an art history community.

There are some annotations on the image, such as what appears to be a handwritten note in pencil at the top left corner saying "Jan. 6," possibly indicating a reference date or a date of interest relative to the document. There are also various signs of aging and handling, such as creases and discoloration that indicate the physical document has been scanned for digital preservation or sharing.

The image depicts a page from a publication titled "Alumni Bulletin" dated January 15. The main heading reads "Sculptor's Model of the Renaissance." The page discusses a fifteenth-century sculptor's model of the Madonna and Child found in the Great Hall of the Fogg Art Museum. The model is described as being made of cloth, wood, and stucco, with significant attention given to details such as the drapery, texture, and sculptural techniques attributed to Verrocchio, despite uncertainties about the model's true creator.

The article elaborates on various aspects of the model, including its stylistic features, the authenticity of the craftsmanship, historical evaluations, and restoration efforts. It mentions specific figures such as Francesco di Simone and Guido-Fallini, who were involved in the evaluation and restoration of the sculpture. The restoration process included removing previous repairs and preserving original materials. The discussion includes an analysis of the Madonna and Child's physical attributes and potential discrepancies suggesting the involvement of different artists.

The overall tone of the article appears scholarly, with a focus on art history and conservation of Renaissance sculptures.

The image shows a page from a publication titled "Alumni Bulletin," dated January 15. The page features an article titled "Sculptor's Model of the Renaissance." The text discusses a sculptural model of the Madonna and Child, created by the fifteenth-century Italian sculptor Andrea del Verrocchio. Key points from the article include:

1. Description of the Model:

   • The model is housed in the Great Hall of the Fogg Museum and is made of stucco.
   • The Virgin's robe is draped in folds and stiffened by plaster for durability.
   • The plaster is supported by a wooden frame, which is painted to mimic the effect of sculpture in the round.
   • An authentic fifteenth-century work, the model is stylistically very close to Verrocchio's style.

2. Historical Context:

   • The model is believed to have been created by Verrocchio, though it is impossible to definitively prove authorship.
   • It is considered an example of the type of model used by great Renaissance artists.
   • According to Lorenzo dei Medici, Verrocchio created three such figures to commemorate Lorenzo dei Medici's escape from the Pazzi conspiracy in 1478.
   • The original figures were made of wax over a wooden core, but the surviving model in the Fogg Museum is made of stucco and is considered a later, more durable version.

3. Restoration and Preservation:

   • The model underwent restoration by Guide-Fallini, a sculptor-restorer, who removed grime, repaired damage, and restored the figure to its original state.
   • The restoration involved cleaning the drapery, repairing the head and hands, and reinforcing the folds of the robe with glue and small nails ("stoppa").
   • The original Christ Child was missing, and the current version is a reconstruction.

4. Comparison with Other Works:

   • The article compares the model to other works by Verrocchio, such as the Tartagni monument and the Virtus made for Francesca Tornabuoni.
   • It notes that while some pupils of Verrocchio may have created similar models, the Fogg Museum's model is distinct in its style and execution.

5. Provenance and History:

   • The model originally belonged to a convent of sisters, where it was damaged and missing parts.
   • It was later acquired by a Sicilian antiquarian, A. Siciliano, who sold it to a dealer in Florence.
   • The model was eventually purchased by the Fogg Museum.

The page is formatted in a classic, academic style, with dense, typed text and a clean layout. The top of the page includes the publication title, date, and issue number, indicating it is part of a formal bulletin or newsletter. The content is scholarly, focusing on art history and the preservation of Renaissance sculpture.

This appears to be a page from an alumni bulletin or magazine. The page contains an article titled "Sculptor's Model of the Renaissance" that discusses a fifteenth-century sculpture model of the Madonna and Child that was discovered beneath the grime and restorations of a statue in the Fogg Art Museum. The article provides details about the sculpture, its restoration, and the history of the statue. The text is printed in black ink on white paper and is arranged in two columns. The image appears to be a scanned copy of the original document.