Иконостас Сан Антонио {1075}
Altarpiece of Sant'Antonio
Unfortunately today we can have no idea of the true architectural arrangement of all this material.
In fact at the end of the 16th century Donatello's altar was taken to pieces to make way for another by Gerolamo Campagna and Cesare Franco, which included Donatello's Crucifix.
Finally in 1895 the present altar was designed as a reconstruction of Donatello's altar, though it is an arbitrary one only, and the introduction of the bronze Crucifix is a falsification in 19th-century taste.
Modern critics have repeatedly sought to arrive at a reconstruction which most closely resembles Donatello's ideal, and perhaps the most plausible is the one which corresponds to the description, however incomplete, provided by Marc'Antonio Michiel at the beginning of the 16th century.

Michiel wrote: "In the church of the Saint above the high altar, the four bronze figures entirely in the round, grouped around Our Lady, Our Lady herself, and beneath the aforesaid figures, in the predella, two bronze narrative bas-reliefs in front and two behind. And the four Evangelists at the corners, two in front and two behind of bronze and in bas-relief, but in half length, and behind the altar beneath the predella the dead Christ with other figures around and two figures to the right and two to the left, also in bas-relief but in marble, by the hand of Donatello."

Падуя: базилика св. Антония
Padua: basilica di Sant'Antonio
Musician angels Богородица и Младенец на троне со святыми
Virgin and Child enthroned with the saints Dead Christ supported by two putti Entombment Symbols of the evangelists Miracles of St Anthony
The group called the Altare del Santo composed altogether of twenty-nine pieces of sculpture.
This sculptural group, rich with polychrome effects due to the use of coloured marbles, of gold, silver and bronze decorations, must have offered a remarkably brilliant spectacle.
предмет с изображением:
Virgin museum
Peter museum
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