A Bravo

Through Marinali's work, the closed dramatic intensity deriving from the teaching of Giusto Le Court opened up to the fresher decorativeness of the eighteenth century, and the subtle naturalistic sap peculiar to Venetian sculpture since the Late Gothic and the early Renaissance became fixed in these whimsical, proud heads of bravoes, where the airy shading of the relief and the fragrance of the delicate lights attain a new, complex pictorialism.