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Orsanmichele's St. James Tabernacle : ウィキペディア英語版 | Orsanmichele's St. James Tabernacle
Orsanmichele's St. James the Major Tabernacle On the southern façade of Orsanmichele, Florence, is the tabernacle of The Guild of Furriers and Skinners (L’ Arte de Vaiai e Pellicciai). The statue of St. James the Major (c. 1420), by Niccolò di Piero Lamberti, once occupied the niche but is now housed in the Museum of Orsanmichele.〔Grifton, Nannelli, Pisetta, Giuseppe, de Yoldi and Zervas, 70, 152〕 ==Formal Analysis== Placed above the tabernacle is a tondo which displays frescoed remains of the Guild’s emblem.〔Grifton, Nannelli, Pisetta, Giuseppe, de Yoldi and Zervas, 70〕 Decorative cusps draw the eye upward toward the pointed tip of the gable. Still extant in the gable is a scene of The Soul of St. James Carried to Heaven by two Cherubim.〔Grifton, Nannelli, Pisetta, Giuseppe, de Yoldi and Zervas, 72〕 St. James, kneels poised and praying upon his knees. His profile position juxtaposes with two cherubins that gaze outwards as they embrace him from below. Their well-articulated wings fall smoothly down their shoulders. Their rounded, idealized faces appear youthful. Rounded triangles converge in the interior dome of the niche. Twisted colonnades flank the niche and at its base, on either side are displayed the emblem of the Guild of Furriers and Skinners. Also at the base is a relief of The Beheading of St. James. Centrally located in the panel St. James is found fallen to his knees. His head, only partially severed from his neck, drapes forward onto the ground. Five figures surround him. The niche itself no longer holds the statue of St. James the Major. The statue is instead on display in the Museum of Orsanmichele. St. James stands contrapposto with his right arm slightly drawn up. His left had holds the bible to his side. Although fully covered in drapery, the form of his lower body below the deep folds is detectable. His right thigh and knee become visible, creating the illusion that his robes are somewhat thin. They fall smoothly from his chest and gracefully onto the floor leaving only his bare toes visible. His head and face are idealized, resembling the classical philosopher style. He gazes forward in contemplation.
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