03 — ARTWORK
Monument to Doge Tommaso Mocenigo
LAMBERTI, Piero di Niccolò · 1423 →
- MEDIUM
- Marble
- TYPE
- Religious
PALETTE
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- FILE
- 999 × 1200 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Piero di Niccolò executed and signed the monument to Doge Mocenigo (died 1423) together with Giovanni di Martino da Fiesole. This work is transitional between the art of the GothicGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries. and the Renaissance periods with Venetian elements and Florentine forms. It marks the beginning of the spread of the style of Donatello (note the warrior at the left corner of the sarcophagusA coffin or tomb, made of stone, wood or terracotta, and sometimes (especially among the Greeks and Romans) carved with inscriptions and reliefs. which is close to <A onclick="return OpenOther('/html/d/donatell/1_early/orsanmic/1georg_1.html')" href="/html/d/donatell/1_early/orsanmic/1georg_1.html">Donatello's St George</A>).
The sculptors adopted the florid style of current Venetian taste as seen in the fantastic, foliated two-tiered Gothic frame (similar to contemporary painting formats) and the unusually elaborate baldachinOriginally a textile canopy supported on poles and carried dignitaries and relics. Later, an architectural canopy of stone or wood set over a high altar or bishop's throne. held back by two angels to reveal the reclining effigy of the Doge. The structure is crowned by Justice.
CITE THIS RECORD — BIBTEX
@online{wga-r45a39d9940347d,
author = {Krén, Emil and Marx, Daniel},
title = {Monument to Doge Tommaso Mocenigo by LAMBERTI, Piero di Niccolò},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/lamberti-piero-di-niccol-r828c054688fc0b/monument-to-doge-tommaso-mocenigo-r45a39d9940347d},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
