Christ And Saint Thomas (Verrocchio)
The sculpture was the first narrative-based work to appear at Orsanmichele. In its execution Verrocchio showed sophisticated knowledge of the style and substance of classical sculpture. The figures were cast without backs (i.e., not in the round) as they were only to be viewed from the front. This had the added benefits of saving on bronze (which was roughly ten times more expensive than marble), and of making the work lighter and easier to fit into the niche.
The interaction between the characters of Christ and Saint Thomas show a strong sense of movement and dialogue. Differences between the mortal and the immortal are highlighted with Christ's passive, almost regal stance and the agitated and nervous disposition of the doubting Thomas.
Part of the remit of the Mercanzia was to be a judicial, overseeing body; the theme of Christ and Saint Thomas would therefore have been attractive to them as it concerned proof and the presentation of reliable evidence.
References
- ^ Decker, Heinrich (1969) [1967]. The Renaissance in Italy: Architecture • Sculpture • Frescoes. New York: The Viking Press. p. 24.
- Hartt, Frederick and Wilkins, David G. History of Italian Renaissance Art. Upper Saddle River, NJ: Pearson Prentice Hall, 2006.
External links
- Media related to Christ and Saint Thomas by Verrocchio at Wikimedia Commons