POLLAJUOLO
216
POLLAJUOLO
been paining ground for the last half century among Pollajuolo, Antonio and Piero Benci, derived
Christian elunchcs, both Catholic and non-Catholic, their surname, according to Florentine custom, from
to emphasize the importance of religious and moral the trade of their father, who was a dealer in poultry,
elements in a. healthy economic life, and which pro- Both were born at Florence, Antonio about 1432,
tests more or less strongly against laissez faire, is Piero in 1443; both died in Rome, the younger in
usually designated as Christian Socialism. This name 1496, the elder in 1498, and both were bm-ied in the
is, however, not well chosen, since ___^___;____^______^^____ same tomb in San Pictro in Vincoli.
none of the so-called Christian so-
cialists hold to the fundamental
principle of socialism, namely the
abolishment of private ownership
in the means of production. The
Protestant WTiters in this field have
naturally lacked an authority which
would hold them together. In
England their adoption of co-oper-
ative associations as a substitute
for competition has given them a
unity which they have not attained
elsewhere. The Catholic School
agrees with the socialists in much
of their criticism of the competitive
system, but parts company with
tiiem by insisting on the place of
religion, the family, property, and
the employer .system in the social
scheme. In the matter of state
intervention, there are among
CathoUc writers two general ten-
Antonio Pollajuolo
Antonio studied painting under
Uccello, and was influenced by Bal-
dovinetti. Among his individual
paintings are: "David" (Berlin
Museum); "Fight of Hercules
withAntffius", "Fight of Hercules
with the Hydra", two small panels
(UfRzi); "Hercules and Nessus"
(Jarves collection. New Haven,
Conn.); "Communion of Mary
Magdalen" (Pievede Staggia, near
Poggibonsi). The collaboration
of the brothers began in 1465.
Piero, brought up in his brother's
studio, received lessons from Cas-
tagno, Uccello, an<.l Baldovinetti.
He painted the alt ar piece represent-
ing "Sts. James, ^■inccnt, and Eu-
stachius" (Uffizi); " Tobias and the
Angel" (Museum of Turin); and
the "Annunciation" (Museum
of Berlin). Both brothers drew
dencies. The more Illiberal" wing, led Jay such econ- designs depicting the life of St. John Baptist, from
which were made the embroideries for the San Giovanni baptistery (Museum of the Duomo, Flor- ence). In 1475 they finished the altar piece rep- resenting the "Martyrdom of St. Sebastian" (Na- tional Gallery, London).
The Pollajuoli were likewise portrait painters of re- nown, but these works have nearly all perished. The portrait of the wife of Giovanni Bardi (Rluseum Poldi- Pezzoli, Milan) has been ascribed to Antonio. To Piero are credited: the "Galeazzo Sforza" (Uffizi), six of the cardinal and theological "Virtues" (Mer- canzia of Florence, 1409), sitting in marble niches, with mosaic ornamenta- tion, and charac- terized by nobility and gravity, and the " Coronation of theVirgin" (Church of San Gimignano, 1483), a mediocre altar piece.
Antonio was chiefly a goldsmith and sculptor. As a goldsmith he worked in the stu- dio of Ghiberti. His two master- pieces in the Bap- tistery are the bas- relief of the "Nativity" (Museum of the Duomo), and the large silver cross which he executed in collabora- tion with Betto di Francesco Betti. As a sculptor he was the pupil of Donatello and excelled in the treat- ment of bronze. He executed the small group of "Her- cules and Cacus", several busts, and (1493) the tomb of Sixtus IV, ordered by Innocent VIII. This magnifi- cent bronze tomb is in St. Peter's, in the chapel of the Blessed Sacrament. The head is a remarkable por- trait, made from a cast and crowned with the tiara, on which Antonio expended all the <l('licacy of his talent as a goldsmith. At the siilcs the liberal and prospective arts are represented ;is half-nude women,
omists as Le Play, P(5rin, and Victor Brants, would
reduce state action to a minimum, while others, look-
ing to Bishop Ketteler, Cardinal Manning, and Count
de Mun, would invoke a considerable measure of so-
called State socialism. Astrong impulse towards unity
of effort among Catholics was given by the publication
of the encyclicals of Pope Leo XIII, "Rerum Nova-
rum", of 15 May, 1891, and "Graves de Communi",
of 18 January, 1901.
In addition to the writers named above, consult: Ingram, Hist, of Pol. Econ. (London, 1907); CossA, An In- trod. to the Study of Pol. Econ., tr. from the Ital- ian bv Dyer (London, and New York, 1893) (contains an excellent bibliography) ; Ke^'Nes. Thp. Scope and Method of Pol. Econ. (London and New York, 1904) ; Ashley, An Introd. to Eng. Econ. Hist, and Theory (New York and London, 1894); Mar- shall, Prin. of Eco- nomics (London, 1898) ; Liberatore, Prin. of Pol. Econ., tr. Dering (Londonand New York. 1891); Seaoer, Infrorf. (o£conomics(NewYork. 1908); EhY, Outlines of Economics (New York. 1908); Hadley, Eco- nomics (New York, 1896); Nicholson, Prin . of Pol. Econ. (NewY'ork and London, 1893- 1901); Seligman, Prin. of Economics (New Y'ork. London and Bom- bay, 1905) ; Walker, Pot. £con.(New York. 1888) : Ryan, A Livinn Wage (New York, 1906) ; Pesch, Lehrbuch der NationalOkonomie (Freiburg and St. Louis, 1905-1909) ; Wagner, Grundlegung der politischen Ockimonne (1S92-1894); Schmoller, Grundriss der allgemeinen \',>ll :: u-l , l^nl.lrlire (Leipzig. 1900-1904); CoHN, Grundlegung fl. \ ■ .,,.mie (Stuttgart. 1885- 1898); Phi-
LippovicH, (,;" 'fsr^CTi Oet-onomic (Tubingen, 1904);
LEROY-BEATin I , 7',. /, ,r,,,,nomie politique {Paris. 1910); Gide, Cours d'lconomii pnliliqiir (Paris, 1909); Say, TraiU d'iconomie politique (Paris, 1803) ; .Iannet, Le Socialisme d'itat et la Riforme Sociale (Paris, 1890); Hitze, Die Arbeiterfrage (Berlin. 1900); Antoine, Cours d'tconomie sociale {Paris, 1899) ; Ratzinoeh, Die Volkswirtschaft in ihren sittlichen Grundlagen (Freiburg, 1881); Palqrave, Dictionary of Pol. Econ. (London and New York, 1894-1899); Conrad, H andwirterbuch der Stnatsutissenschnftcn (Jena, 1890-1894); Bruder in Slaatslexikon (Freiburg and St. Louis, 1889-1897). FRANK O'HaRA.
Tomb of Sixtds IV
Antonio Pollajuolo, St. Peter's, Rome
