Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
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Burlington Contemporary is the Burlington Magazine’s free online platform for reviews and research on international contemporary art.
ON 14th November the British public had its first opportu- nity to try for the fourteen million-to-one chance of the jack- pot in the newly established National Lottery. If professional gamblers are unlikely to be tempted by such odds, the less hard-headed are encouraged to rationalise their fantasies with the thought that a proportion of the ticket price will go to 'good causes'. By the terms of the National Lottery Act of 1993, twenty-five per cent of lottery revenue will be divided equally between five distributing bodies - the Sports Coun- cil, the National Lotteries Charities Board, the Millennium Commission, the Arts Councils and the National Heritage Memorial Fund. Although the proceeds of the lottery are unpredictable the arts and 'heritage' cannot fail to benefit. Seven million £1 tickets were sold on the first day.
FLANKING the entrance to the choir of Volterra cathedral are two kneeling angels carrying candlesticks (Figs.2 and 3). Now balanced on top of intricately carved spiral columns, they originally formed part of the tabernacle for the reser- vation of the Eucharist that Mino da Fiesole made between 1467 and 1471 (Fig.1). After a chequered history - it was dismantled in 1590, abandoned in a storeroom for 240 years, and reconstructed in the Baptistery of Volterra in 1837 - the tabernacle finally returned in 1937 to the place for which it was made, the cathedral's high altar.
TWO years ago I was for.tunate enough to find in a store- room of the confraternity of S. Francesco Poverino in Piazza SS. Annunziata, Florence, a hitherto unpublished crucifix which immediately seemed to me to be related to the work of Andrea del Verrocchio. Photographs taken before, during and after the restoration that followed this discovery (Figs. 15, 1 7, 18, 20, 26 and 28) reveal the quality of a sculp- ture which had remained almost totally overlooked. This article seeks to present some preliminary conclusions about its authorship, which strongly suggest that it may be one of the 'Crucssi di legno' mentioned by Vasari as having been made by Verrocchio, of which no convincing example has ever before come to light.
' mentioned by Vasari as having been made by Verrocchio, of which no convincing example has ever before come to light.
THE exhibition of Italian sculpture from the Hermitage shown in Rome and Venice in 1991-92 provided an oppor- tunity to reconsider a terracotta statuette of a headless man on horseback (Figs.30 and 31) which, as we hope to demon- strate, can be identiSed as an early project for a monument to Peter the Great.
BY the outbreak of the First World War Rodinrs status in Great Britain had reached unprecedented heights: his repu- tation was greater than that of any other sculptor and his enthusiastic acceptance by fellow artists and art students as well as by art lovers and British high society led hirn to donate a major representative selection of his works to the British nation in 1 914. How did a foreign sculptor come to achieve this unique position?
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