Unbeliever Thomas (Verrocchio)
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| Unbelieving Thomas |
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| Andrea del Verrocchio , 1466 / 67 - 1483 |
| Bronze sculpture |
| Orsanmichele Museum; Florence |
The group of statues of the infidel Thomas ( Italian Incredulità di San Tommaso ) by Andrea del Verrocchio is part of the cycle of fourteen statues of the guilds and guilds of Florence in the niches outside the church of Orsanmichele . It was commissioned by the Tribunale di Mercatanzia and dates from 1466 / 67–1483. It is made of bronze and 241 cm (Christ) and 203 cm (Saint Thomas) high and the only sculpture in the group that is executed as a half-sculpture. Apart from the heads, it is a hollow high relief with no back. Today it is in the Orsanmichele Museum, while outside it was replaced by a copy. Due to its nature, it is the only one in the museum that is in a niche.
history
The central aedicule on the main street (Via de 'Calzaiuoli) was reserved for the Tribunale di Mercatanzia , the body that regulates legal and administrative matters between the craftsmen. As Vasari reports, the niche belonged to the Guelfs party and was originally designed and built by Donatello with the help of Michelozzo . In the past, until around 1460, the gilded bronze statue of San Ludovico di Tolosa by Donatello was located there , which then went on to the facade of Santa Croce and from here to the Museum of Santa Croce.
In 1463 the aedicula was acquired by the tribunal, who commissioned Verrocchio to erect a new monument in 1466. A document from 1468 contains the decision to create two statues. Between 1473 and 1476 the design with the figure of Christ was realized, to which St. Thomas was added in 1483.
The topic was chosen because it is related to the role of the judiciary in evaluating the facts and supporting them with evidence.
The group was removed from its niche in 1988 and restored by the Opificio delle Pietre Dure in 1992 . At the same time the copy for the outside was made.
description
The design of the aedicula belongs to the Orsanmichele, which originated entirely from the Renaissance. the Gothic arches are absent and instead there is a round arch, decorated like the valva of a shell, supported by two small columns with Ionic capitals. Two Corinthian pilasters hold a frieze of putti and garlands and a tympanum on which the Trinity is depicted in a wreath medallion. The clouds around the arch are decorated with putti reliefs, which are also located on the base while holding a clipeus in flight . There are two mascarons on the sides of the base .
The group of Christ and Saint Thomas shows an episode from the Gospel ( John 20, 24-29) in which the apostle doubts the risen Christ and is therefore invited by the Savior to touch his wound on the side with his hand. The innovative idea is to represent the sacred figures as if in dialogue with one another in a theatrical simulation. Christ is depicted raising his arm and moving his dress to show the wound to the disciple, who looks and touches it in disbelief.
The group was soon admired for the fortunate choice of composition, for the forms of expression of the protagonists, and for the skill with which the problem of the narrow space of the niche was solved. Thomas is actually placed one step below Christ, his leg covering the base of one of the pillars and his right foot coming out of the niche and "piercing" the room. The robe is heavy and falls as if it were wet, a style feature that the student Botticelli also took up.
During the restoration, the excellent workmanship was checked, with mastery of the lost wax technique that only allowed a single gap for each of the figures. To avoid mistakes during casting, a high metal thickness was created, which was then machined, chiseled and polished with extraordinary care.
Picture gallery
detail
The backside
The fabric
Mascaron
Putto
Mascaron
literature
- Paola Grifoni, Francesca Nannelli: Le statue dei santi protettori delle arti fiorentine e il Museo di Orsanmichele . In: Quaderni del servizio educativo . Edizioni Polistampa, Florence 2006.
