Imitation of Classical Models


	Imitation of Classical Models

Donatello
Gattemelata
bronze, 1446-50 CE

The Roman equestrian statue of Marcus Aurelius provided an important model for Renaissance artists. Eager to rival classical works of arts, a number of Renaissance artists both painted and sculpted equestrian works. One difference is crucial: Roman equestrian statues depicted emperors, both civic and military leaders. Renaissance artists often glorified mercenary soldiers, as Donatello did here.

Alberti
S. Andrea
Mantua, designed 1470

Architects often borrowed from classical models, partly because monuments of classical antiquity still existed in Italy. This church is modeled on the triumphal arch. Alberti also read treatises on ancient architecture and attempted to follow their prescriptions regarding reason, order, and proportion. Here Alberti's concern for proportions results in a building with equal height and width. Also see Alberti's Palazzo Rucellai.

Michelangelo
Palazzo dei Conservatori

^MAS
For another example of a highly rational Renaissance building dependent on classical sources see Michelangelo's High Renaissance building.

All images marked ^MAS were photographed on location by Mary Ann Sullivan. All other images were scanned from other sources or downloaded from the World Wide Web; they are posted on this password-protected site for educational purposes, at Bluffton College only, under the "fair use" clause of U.S. copyright law.

Page maintained by Gerald W. Schlabach, gws@bluffton.edu. Last updated: 19 April 1999.

	Donatello Gattemelata bronze, 1446-50 CE
	The Roman equestrian statue of Marcus Aurelius provided an important model for Renaissance artists. Eager to rival classical works of arts, a number of Renaissance artists both painted and sculpted equestrian works. One difference is crucial: Roman equestrian statues depicted emperors, both civic and military leaders. Renaissance artists often glorified mercenary soldiers, as Donatello did here.
	Alberti S. Andrea Mantua, designed 1470
	Architects often borrowed from classical models, partly because monuments of classical antiquity still existed in Italy. This church is modeled on the triumphal arch. Alberti also read treatises on ancient architecture and attempted to follow their prescriptions regarding reason, order, and proportion. Here Alberti's concern for proportions results in a building with equal height and width. Also see Alberti's Palazzo Rucellai.
	Michelangelo Palazzo dei Conservatori
^MAS	For another example of a highly rational Renaissance building dependent on classical sources see Michelangelo's High Renaissance building.