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+The Project Gutenberg eBook, Donatello, by David Lindsay, Earl of Crawford
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Donatello
+
+
+Author: David Lindsay, Earl of Crawford
+
+
+
+Release Date: April 1, 2006  [eBook #18099]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK DONATELLO***
+
+
+E-text prepared by Suzanne Lybarger, Linda Cantoni, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net/) from
+page images generously made available by Internet Archive/Canadian
+Libraries (http://www.archive.org/details/toronto)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
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+      See 18099-h.htm or 18099-h.zip:
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+      or
+      (https://www.gutenberg.org/dirs/1/8/0/9/18099/18099-h.zip)
+
+
+      Images of the original pages are available through
+      Internet Archive/Canadian Libraries. See
+      http://www.archive.org/details/donatello00crawuoft
+
+
+Transcriber's note:
+
+   In the original text the name "Verrocchio" is, except for one
+   instance, misspelled as "Verrochio"; the name "Buonarroti" is
+   twice misspelled as "Buonarotti"; the name "Orcagna" is once
+   misspelled as "Orcagra"; and the name "Vasari" is once
+   misspelled as "Vassari." These have been corrected in this
+   e-text.
+
+   Variants, archaic forms, or Anglicizations of other names
+   (e.g., "Michael Angelo" for "Michelangelo"; "Or San Michele"
+   for "Orsanmichele"; "Brunellesco" for "Brunelleschi") have
+   been retained as they appear in the original.
+
+   Characters with macrons are indicated in brackets, e.g. [=U].
+
+   Characters following a caret character are superscripted, e.g.
+   M^a.
+
+
+
+
+
+DONATELLO
+
+by
+
+LORD BALCARRES
+
+
+
+
+
+
+
+[Illustration: _Alinari_
+
+CHRIST ON THE CROSS
+
+SANT' ANTONIO, PADUA]
+
+
+
+[Illustration: DESORMAIS]
+
+
+
+London: Duckworth and Co.
+New York: Charles Scribner's Sons
+1903
+All rights reserved
+Printed by Ballantyne, Hanson & Co.
+at the Ballantyne Press
+
+
+
+
+PREFACE
+
+
+An attempt is made in the following pages to determine the position
+and character of Donatello's art in relation to that of his
+contemporaries and successors. The subject must be familiar to many
+who have visited Florence, but no critical work on the subject has
+been published in English. I have therefore quoted as many authorities
+as possible in order to assist those who may wish to look further into
+problems which are still unsettled. Most of the books to which
+reference is made can be consulted in the Art Library at South
+Kensington, and in the British Museum. Foreign critics have written a
+good deal about Donatello from varied, if somewhat limited aspects.
+Dr. Bode's researches are, as a rule, illustrative of the works of art
+in the Berlin Museum. The main object of Dr. Semper was to collect
+documentary evidence about the earlier part of Donatello's life;
+Gloria and Gonzati have made researches into the Paduan period; Lusini
+confines his attention to Siena, Centofanti to Pisa; M. Reymond and
+Eugène Müntz are more comprehensive in their treatment of the subject.
+
+With eleven or twelve exceptions I have seen the original of every
+existing piece of sculpture, architecture and painting mentioned in
+this book. I regret, however, that among the exceptions should be a
+work by Donatello himself, namely, the Salome relief at Lille--my
+visits to that town having unfortunately coincided with public
+holidays, when the gallery was closed. I must express my thanks to the
+officials of Museums, as well as to private collectors all over
+Europe, for unfailing courtesy and assistance. I have also to
+acknowledge my indebtedness to the invaluable advice of Mr. S. Arthur
+Strong, Librarian of the House of Lords.
+
+21.vi.1903
+
+
+
+
+CONTENTS
+
+
+                                                             PAGE
+
+INTRODUCTION                                                    1
+
+COMPETITION FOR THE BAPTISTERY GATES                            2
+
+FIRST JOURNEY TO ROME                                           3
+
+THE PREDECESSORS OF DONATELLO                                   5
+
+FIRST WORK FOR THE CATHEDRAL                                    7
+
+THE CATHEDRAL FAÇADE                                            8
+
+THE DANIEL AND POGGIO                                          10
+
+ST. JOHN THE EVANGELIST AND THE MARBLE DAVID                   14
+
+STATUES OF THE CAMPANILE                                       17
+
+ST. JOHN THE BAPTIST                                           18
+
+JEREMIAH AND THE CANON OF ART                                  20
+
+HABAKKUK AND THE SENSE OF DISTANCE                             23
+
+THE ZUCCONE, "REALISM" AND NATURE                              26
+
+THE ZUCCONE AND THE SENSE OF LIGHT AND SHADE                   29
+
+ABRAHAM AND THE SENSE OF PROPORTION                            30
+
+DRAPERY AND HANDS                                              31
+
+MINOR WORKS FOR THE CATHEDRAL                                  33
+
+OR SAN MICHELE, ST. PETER AND ST. MARK                         35
+
+ST. LOUIS                                                      38
+
+ST. GEORGE                                                     39
+
+DONATELLO AND GOTHIC ART                                       42
+
+THE CRUCIFIX AND ANNUNCIATION                                  47
+
+MARTELLI, DAVID, AND DONATELLO'S TECHNIQUE                     52
+
+EARLY FIGURES OF ST. JOHN                                      56
+
+DONATELLO AS ARCHITECT AND PAINTER                             59
+
+THE SIENA FONT                                                 70
+
+MICHELOZZO AND THE COSCIA TOMB                                 72
+
+THE ARAGAZZI TOMB                                              76
+
+THE BRANCACCI TOMB                                             77
+
+STIACCIATO                                                     80
+
+TOMBS OF PECCI, CRIVELLI, AND OTHERS                           82
+
+THE SECOND VISIT TO ROME                                       88
+
+WORK AT ROME                                                   94
+
+THE MEDICI MEDALLIONS                                          97
+
+THE BRONZE DAVID                                               99
+
+DONATELLO AND CHILDHOOD                                       103
+
+THE CANTORIA                                                  107
+
+THE PRATO PULPIT                                              109
+
+OTHER CHILDREN BY DONATELLO                                   113
+
+BOYS' BUSTS                                                   116
+
+NICCOLÒ DA UZZANO AND POLYCHROMACY                            121
+
+PORTRAIT-BUSTS                                                125
+
+RELIEF-PORTRAITS                                              131
+
+SAN LORENZO                                                   133
+
+THE BRONZE DOORS                                              135
+
+THE JUDITH                                                    140
+
+THE MAGDALEN AND SIMILAR STATUES                              144
+
+THE ALTAR AT PADUA                                            149
+
+THE LARGE STATUES                                             152
+
+THE BRONZE RELIEFS                                            156
+
+THE SYMBOLS OF THE EVANGELISTS                                161
+
+THE CHOIR OF ANGELS                                           163
+
+THE PIETÀ AND THE ENTOMBMENT                                  164
+
+DONATELLO'S ASSISTANTS                                        167
+
+BELLANO AND THE GATTAMELATA TOMBS                             170
+
+GATTAMELATA                                                   173
+
+SMALLER RELIEFS AND PLAQUETTES                                176
+
+THE MADONNAS                                                  179
+
+THE PULPITS OF SAN LORENZO                                    186
+
+DONATELLO'S INFLUENCE ON SCULPTURE                            190
+
+EARLY CRITICISM OF DONATELLO                                  193
+
+CHARACTER AND PERSONALITY OF DONATELLO                        194
+
+APPENDIX I                                                    199
+
+APPENDIX II                                                   201
+
+APPENDIX III                                                  204
+
+INDEX                                                         207
+
+
+
+
+ILLUSTRATIONS
+
+
+Christ on the Cross                    _Frontispiece_
+
+Joshua                                 _To face page_          10
+
+Poggio                                       "                 12
+
+Mocenigo Tomb                                "                 14
+
+Marble David                                 "                 16
+
+St. John the Evangelist                      "                 18
+
+Jeremiah                                     "                 20
+
+Habakkuk                                     "                 24
+
+The Zuccone                                  "                 26
+
+Abraham and Isaac                            "                 30
+
+St. Mark                                     "                 36
+
+St. George                                   "                 40
+
+St. George                                   "                 42
+
+Annunciation                                 "                 48
+
+San Giovannino                               "                 56
+
+St. John Baptist, Marble                     "                 58
+
+Clay Sketch of Crucifixion and Flagellation  "                 62
+
+Niche of Or San Michele                      "                 64
+
+The Marzocco                                 "                 66
+
+The Martelli Shield                          "                 68
+
+Salome Relief, Siena                         "                 70
+
+Tomb of Coscia, Pope John XXIII.             "                 72
+
+Effigy of Pope John XXIII.                   "                 74
+
+Tomb of Cardinal Brancacci                   "                 78
+
+Tomb Plate of Bishop Pecci                   "                 86
+
+Tabernacle                                   "                 94
+
+The Charge to Peter                          "                 96
+
+The Bronze David                             "                100
+
+Cantoria                                     "                106
+
+Cantoria (Detail)                            "                108
+
+The Prato Pulpit                             "                110
+
+Bronze Amorino                               "                114
+
+San Giovannino                               "                118
+
+Niccolò da Uzzano                            "                122
+
+Bronze Doors                                 "                136
+
+Judith                                       "                140
+
+St. Mary Magdalen                            "                144
+
+St. John the Baptist                         "                146
+
+Saint Francis, the Madonna, and Saint
+  Anthony                                    "                152
+
+Miracle of the Speaking Babe                 "                156
+
+Miracle of the Miser's Heart                 "                158
+
+Miracle of the Mule                          "                160
+
+Symbol of St. Matthew                        "                162
+
+Choristers                                   "                164
+
+Choristers                                   "                164
+
+Christ Mourned by Angels                     "                166
+
+Super Altar by Giovanni da Pisa              "                168
+
+Tomb of Giovanni, Son of General Gattamelata "                170
+
+Tomb of General Gattamelata                  "                172
+
+Shrine of St. Justina                        "                172
+
+General Gattamelata                          "                174
+
+Colleone                                     "                176
+
+Madonna and Child                            "                180
+
+"Pazzi" Madonna                              "                182
+
+Madonna and Child                            "                184
+
+Madonna                                      "                186
+
+Side Panel of Pulpit                         "                188
+
+End Panel of Pulpit                          "                190
+
+     _The reproductions from photographs which illustrate this
+     volume have been made by Messrs. J.J. Waddington, Ltd. 14
+     Henrietta Street, W.C._
+
+
+
+
+DONATELLO
+
+
+The materials for a biography of Donatello are so scanty, that his
+life and personality can only be studied in his works. The Renaissance
+gave birth to few men of productive genius whose actual careers are so
+little known. Unlike many of his contemporaries, Donatello composed no
+treatise on his art; he wrote no memoir or commentary, no sonnets, and
+indeed scarcely a letter of his even on business topics has survived.
+For specific information about his career we therefore depend upon
+some returns made to the Florentine tax-collectors, and upon a number
+of contracts and payments for work carried out in various parts of
+Italy. But, however familiar Donatello the sculptor may be to the
+student of Italian art, Donatello the man must remain a mystery. His
+biography offers no attraction for those whose curiosity requires
+minute and intimate details of domestic life. Donatello bequeathed
+nothing to posterity except a name, his masterpieces and a lasting
+influence for good.
+
+The _Denunzia de' beni_, which was periodically demanded from
+Florentine citizens, was a declaration of income combined with what
+would now be called census returns. Donatello made three statements of
+this nature,[1] in 1427, 1433 and 1457. It is difficult to determine
+his age, as in each case the date of his birth is differently
+inferred. But it is probable that the second of these returns, when he
+said that he was forty-seven years old, gives his correct age. This
+would place his birth in 1386, and various deductions from other
+sources justify this attribution. We gather also that Donatello lived
+with his mother Orsa, his father having died before 1415. The widow,
+who is mentioned in 1427, and not in 1433, presumably died before the
+latter date. One sister, Tita, a dowerless widow, is mentioned in the
+earliest _denunzia_, living with her mother and Donatello, her son
+Giuliano having been born in 1409. It is probable that Donatello had a
+brother, but the matter is somewhat obscure, and it is now certain
+that he cannot be identified with the sculptor Simone, who used to be
+considered Donatello's brother on the authority of Vasari.
+
+[Footnote 1: Gaye, Carteggio, i. 120. See Appendix II. A.]
+
+       *       *       *       *       *
+
+[Sidenote: Competition for the Baptistery Gates.]
+
+The year 1402 marks an event of far-reaching importance in the history
+of Italian art. Having decided to erect bronze doors for their
+Baptistery, the Florentines invited all artists to submit competitive
+designs. After a preliminary trial, six artists were selected and a
+further test was imposed. They were directed to make a bronze relief
+of given size and shape, the subject being the Sacrifice of Isaac. Few
+themes could have been better chosen, as the artist had to show his
+capacity to portray youth and age, draped and undraped figures, as
+well as landscape and animal life. The trial plaques were to be sent
+to the judges within twelve months. Donatello did not compete, being
+only a boy, but he must have been familiar with every stage in the
+contest, which excited the deepest interest in Tuscany. A jury of
+thirty-four experts, among whom were goldsmiths and painters as well
+as sculptors, assembled to deliver the final verdict. The work of
+Jacobo della Quercia of Siena was lacking in elegance and delicacy;
+the design submitted by Simone da Colle was marred by faulty drawing;
+that of Niccolo d'Arezzo by badly proportioned figures; while
+Francesco di Valdambrino made a confused and inharmonious group. It
+was evident that Ghiberti and Brunellesco were the most able
+competitors, and the jury hesitated before giving a decision.
+Brunellesco, however, withdrew in favour of his younger rival, and the
+commission was accordingly entrusted to Ghiberti. The decision was
+wise: Ghiberti's model, technically as well as æsthetically, was
+superior to that of Brunellesco. Both are preserved at Florence, and
+nobody has regretted the acceptance of Ghiberti's design, for its
+rejection would have made a sculptor of Brunellesco, whose real tastes
+and inclinations were towards architecture, to which he rendered
+services of incomparable value.
+
+       *       *       *       *       *
+
+[Sidenote: First Journey to Rome.]
+
+For a short time Donatello was probably one of the numerous _garzoni_
+or assistants employed by Ghiberti in making the gates, but his first
+visit to Rome is the most important incident of his earlier years.
+Brunellesco, disappointed by his defeat, and wishing to study the
+sculpture and architecture of Rome, sold a property at Settignano to
+raise funds for the journey. He was accompanied by Donatello, his
+_stretissimo amico_, [Transcriber's Note: Probably should be
+"strettissimo."] and they spent at least a year together in Rome,
+learning what they could from the existing monuments of ancient art,
+and making jewelry when money was wanted for their household expenses.
+Tradition says that they once unearthed a hoard of old coins and were
+thenceforward known as the treasure-seekers--_quelli del' tesoro_. But
+the influence of antiquity upon Donatello was never great, and
+Brunellesco had to visit Rome frequently before he could fully realise
+the true bearings of classical art. It has been argued that Donatello
+never made this early visit to Rome on the ground that his subsequent
+work shows no traces of classical influence. On such a problem as this
+the affirmative statement of Vasari is lightly disregarded. But the
+biographer of Brunellesco is explicit on the point, giving many
+details about their sojourn; and this book was written during the
+lifetime of both Donatello and Brunellesco. The argument against the
+visit is, in fact, untenable. Artists were influenced by classical
+motives without going to Rome. Brunellesco himself placed in his
+competition design a figure inspired by the bronze boy drawing a thorn
+out of his foot--the _Spinario_ of the Capitol. Similar examples could
+be quoted from the work of Luca della Robbia, and it would be easy to
+show, on the other hand, that painters like Masaccio, Fra Angelico,
+and Piero della Francesca were able to execute important work in Rome
+without allowing themselves to be influenced by the classical spirit
+except in details and accessories. Moreover, if one desired to press
+the matter further, it can be shown that in the work completed by
+Donatello before 1433, the year in which he made his second and
+undisputed visit, there are sufficient signs of classical motive in
+his architectural backgrounds to justify the opinion that he was
+acquainted with the ancient buildings of Rome. The Relief on the font
+at Siena and that in the Musée Wicar at Lille certainly show classical
+study. At the same time, in measuring the extent to which Donatello
+was influenced by his first visit to Rome, we must remember that it is
+often difficult and sometimes impossible to determine the source of
+what is generically called classical. The revival or reproduction of
+Romanesque motives is often mistaken for classical research. In the
+places where Christianity had little classical architecture to guide
+it--Ravenna, for instance--a new line was struck out; but elsewhere
+the Romanesque had slowly emerged from the classical, and in many
+cases there was no strict line of demarcation between the two. But
+Donatello was very young when he went to Rome, and the fashion of the
+day had not then turned in favour of classical study. The sculptors
+working in Rome, colourless men as they were, drew their inspiration
+from Gothic and pre-Renaissance ideals. In Florence the ruling motives
+were even more Gothic in tendency. It is in this school that Donatello
+found his earliest training, and though he modified and transcended
+all that his teachers could impart, his sculpture always retained a
+character to which the essential elements of classical art contributed
+little or nothing.
+
+       *       *       *       *       *
+
+[Sidenote: The Predecessors of Donatello.]
+
+Florence was busily engaged in decorating her great buildings. The
+fourteenth century had witnessed the structural completion of the
+Cathedral, excepting its dome, of the Campanile, and of the Church of
+Or San Michele. During the later years of the century their adornment
+was begun. A host of sculptors was employed, the number and scale of
+statues required being great. There was a danger that the sculpture
+might have become a mere handmaid of the architecture to which it was
+subordinated. But this was not the case; the sculptors preserved a
+freedom in adapting their figures to the existing architectural lines,
+and it is precisely in the statuary applied to completed buildings
+that we can trace the most interesting transitions from Gothic to
+Renaissance. It is needless to discuss closely the work which was
+erected before Donatello's return from Rome: much of it has unhappily
+perished, and what remains is for the purposes of this book merely
+illustrative of the early inspiration of Donatello. Piero Tedesco made
+a number of statues for the Cathedral, Mea and Giottino worked for the
+Campanile. Lorenzo di Bicci, sculptor, architect, and painter, was one
+of those whose influence extended to Donatello; Niccolo d'Arezzo was
+perhaps the most original of this group, making a genuine effort to
+shake off the conventional system. But, on the whole, the last quarter
+of the fourteenth century showed but little progress. Indeed, from the
+time of the later Pisani there seems to have been a period of
+stagnation, a pause during which the anticipated progress bore little
+fruit. Orcagna never succeeded in developing the ideas of his master.
+The shrine in Or San Michele, marvellous in its way, admirable alike
+for diligence and sincerity, stands alone, and was not imbued with the
+life which could make it an influence upon contemporary art.
+
+       *       *       *       *       *
+
+[Sidenote: First Work for the Cathedral.]
+
+The first recorded payment to Donatello by the Domopera, or Cathedral
+authorities, was made in November 1406, when he received ten golden
+florins as an instalment towards his work on the two prophets for the
+North door of the church, which is rather inaccurately described in
+the early documents as facing the Via de' Servi. Fifteen months later
+he received the balance of six florins. These two marble figures,
+small as they are, and placed high above the gables, are not very
+noticeable, but they contain the germ of much which was to follow. The
+term "prophet" can only be applied to them by courtesy, for they are
+curly-haired boys with free and open countenances; one of them happens
+to hold a scroll and the other wears a chaplet of bay leaves. There is
+a certain charm about them, a freshness and vitality which reappears
+later on when Donatello was making the dancing children for the Prato
+pulpit and the singing gallery for the Cathedral. The two prophets,
+particularly the one to the right, are clothed with a skill and
+facility all the more remarkable from the fact that some of the
+statues made soon afterwards, show a stiff and rigid treatment of
+drapery. Closely allied to these figures is a small marble statue,
+about three feet high, belonging to Madame Edouard André in Paris. It
+is a full-length figure of a standing youth, modelled with precision,
+and intended to be placed in a niche or against a background. Like the
+prophets just described, it has a high forehead, while the drapery
+falls in strong harmonious lines, a corner being looped up over the
+left arm. It is undoubtedly by Donatello, being the earliest example
+of his work in any collection, public or private, and on that account
+of importance, apart from its intrinsic merits.
+
+       *       *       *       *       *
+
+[Sidenote: The Cathedral Façade.]
+
+Donatello soon received commissions for statues of a more imposing
+scale to be placed on the ill-fated façade of the Cathedral. All
+beautiful within, the churches of Florence are singularly poor in
+those rich façades which give such scope to the sculptor and
+architect, conferring, as at Pisa, distinction on a whole town. The
+churches of the Carmine, Santo Spirito and San Lorenzo are without
+façades at all, presenting graceless and unfinished masonry in place
+of what was intended by their founders. Elsewhere there are late and
+florid façades alien to the spirit of the main building, while it has
+been left to our own generation to complete Santa Croce and the
+Cathedral. The latter, it is true, once had a façade, which, though
+never finished, was ambitiously planned. A large section of it was,
+however, erected in Donatello's time, but was removed for no reason
+which can be adequately explained, except that on the occasion of a
+royal marriage it was thought necessary to destroy what was contrived
+in the _maniera tedesca_, substituting a sham painted affair which was
+speedily ruined by the elements. The ethics of vandalism are indeed
+strange and varied. In this case vanity was responsible. It was
+superstition which led the Sienese, after incurring defeat by the
+Florentines, to remove from their market-place the famous statue by
+Lysippus which brought them ill-luck, and to bury it in Florentine
+territory, so that their enemies might suffer instead. Ignorance
+nearly induced a Pope to destroy the "Last Judgment" of Michael
+Angelo, whose colossal statue of an earlier Pontiff, Julius II., was
+broken up through political animosity. One wishes that in this last
+case there had been some practical provision such as that inserted by
+the House of Lords in the order for destroying the Italian Tombs at
+Windsor in 1645, when they ordained that "they that buy the tombs
+shall have liberty to transport them beyond the seas, for making the
+best advantage of them." The vandalism which dispersed Donatello's
+work could not even claim to be utilitarian, like that which so nearly
+caused the destruction of the famous chapel by Benozzo Gozzoli in the
+Riccardi Palace (for the purposes of a new staircase);[2] neither was
+it caused by the exigencies of war, such as the demolition of the
+Monastery of San Donato, a treasure-house of early painting, razed to
+the ground by the Florentines when awaiting the siege of 1529. The
+Cathedral façade was hastily removed, and only a fraction of the
+statuary has survived. Two figures are in the Louvre; another has been
+recently presented to the Cathedral by the Duca di Sermoneta, himself
+a Caetani, of Boniface VIII., a portrait-statue even more remarkable
+than that of the same Pope at Bologna. Four more figures from the old
+façade, now standing outside the Porta Romana of Florence, are misused
+and saddened relics. They used to be the major prophets, but on
+translation were crowned with laurels, and now represent Homer,
+Virgil, Dante and Petrarch. Other statues are preserved inside the
+Cathedral. Before dealing with these it is necessary to point out how
+difficult it is to determine the authorship and identity of the
+surviving figures. In the first place, our materials for
+reconstructing the design of the old façade are few. There were
+various pictures, some of which in their turn have perished, where
+guidance might have been expected. But the representations of the
+Cathedral in frescoes at San Marco, Santa Croce, the Misericordia and
+Santa Maria Novella help us but little. Up to the eighteenth century
+there used to be a model in the Opera del Duomo: this also has
+vanished, and we are compelled to make our deductions from a rather
+unsatisfactory drawing made by Bernardo Pocetti in the sixteenth
+century. It shows the disposition of statuary so sketchily that we can
+only recognise a few of the figures. But we have a perfect idea of the
+general style and aim of those who planned the façade, which would
+have far surpassed the rival frontispieces of Siena, Pisa and Orvieto.
+We are met by a further difficulty in identifying the surviving
+statues from the fact that the contracts given to sculptors by the
+Chapter do not always specify the personage to be represented.
+Moreover, in many cases the statues have no symbol attribute or
+legend, which usually guide our interpretation of mediæval art. Thus
+Donatello is paid _pro parte solutionis unius figure marmoree_;[3] or
+for _figuram marmoream_.[4] Even when an obvious and familiar
+explanation could be given, such as Abraham and Isaac, the accounts
+record an instalment for the figure of a prophet with a naked boy at
+his feet.[5]
+
+[Footnote 2: Cinelli, p. 22.]
+
+[Footnote 3: 23, xii. 1418.]
+
+[Footnote 4: 12, xii. 1408.]
+
+[Footnote 5: 30, v. 1421.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+JOSHUA
+
+CATHEDRAL, FLORENCE]
+
+
+[Sidenote: The Daniel and Poggio.]
+
+Nine large marble figures for the Cathedral are now accepted as the
+work of Donatello. Others may have perished, and it is quite possible
+that in one at least of the other statues Donatello may have had a
+considerable share. With the exception of St. John the Baptist and St.
+John the Evangelist, all these statues are derived from the Old
+Testament--Daniel, Jeremiah and Habbakuk, Abraham and the marble David
+in the Bargello, together with the two figures popularly called
+Poggio and the Zuccone. Among the earliest, and, it must be
+acknowledged, the least interesting of these statues is the prophet
+standing in a niche in the south aisle close to the great western door
+of the Cathedral. It has been long recognised as a Donatello,[6] and
+has been called Joshua. But, apart from the fact that he holds the
+scroll of a prophet, whereas one would rather expect Joshua to carry a
+sword, this statue is so closely related to the little prophets of the
+Mandorla door that it is almost certainly coeval with them, and
+consequently anterior in date to the period of the Joshua for which
+Donatello was paid some years later. We find the same broad flow of
+drapery, and the weight of the body is thrown on to one hip in a
+pronounced manner, which is certainly ungraceful, though typical of
+Donatello's early ideas of balance. It probably represents Daniel. He
+has the high forehead, the thick curly hair and the youthful
+appearance of the other prophets, while his "countenance appears
+fairer and fatter in flesh,"[7] reminding one of Michael Angelo's
+treatment of the same theme in the Sistine Chapel.
+
+[Footnote 6: Osservatore Fiorentino, 1797, 3rd ed., iv. 216.]
+
+[Footnote 7: Daniel i. 15.]
+
+Like several of Donatello's statues, this figure is connected with the
+name of a Florentine citizen, Giannozzo Manetti, and passes for his
+portrait. There is no authority for the tradition, and Vespasiano de'
+Bisticci makes no reference to the subject in his life of Manetti. The
+statue is, no doubt, a portrait and may well have resembled Manetti,
+but in order to have been directly executed as a portrait it could
+scarcely have been made before 1426, when Manetti was thirty years
+old, by which date the character of Donatello's work had greatly
+changed. These traditional names have caused many critical
+difficulties, as, when accepted as authentic, the obvious date of the
+statue has been arbitrarily altered, so that the statue may harmonise
+in point of date of execution with the apparent age of the individual
+whom it is supposed to portray. A second example of the confusion
+caused by the over-ready acceptance of these nomenclatures is afforded
+by the remarkable figure which stands in the north aisle of the
+Cathedral, opposite the Daniel. This statue has been called a portrait
+of Poggio Bracciolini, the secretary of many Popes. Poggio was born in
+1380 and passed some time in Florence during the year 1456. It has,
+therefore, been assumed[8] that the statue was made at this time or
+shortly afterwards, either as Donatello's tribute of friendship to
+Poggio or as an order from the Cathedral authorities in his
+commemoration. This theory is wholly untenable. We have no record of
+any such work in 1456. The statue does not portray a man seventy-six
+years old. Distinguished as Poggio was, his nature did not endear him
+greatly to the Florentine churchmen; and, finally, the style of the
+sculpture predicates its execution between 1420 and 1430. We can, of
+course, admit that Poggio's features may have been recognised in the
+statue, and that it soon came to be considered his portrait. In any
+case, however, we are dealing with a portrait-statue. The keen and
+almost cynical face, with its deep and powerful lines, is certainly no
+creation of the fancy, but the study of somebody whom Donatello knew.
+It is true there are contradictions in the physiognomy: sarcasm and
+benevolence alternate, as the dominating expression of the man's
+character. The whole face is marked by the refinement of one from whom
+precision and niceness of judgment would be expected. It is not
+altogether what Poggio's achievements would lead one to expect;
+neither is it of a type which, as has been suggested, would allow us
+to call it the missing Joshua. The idea that Job may be the subject is
+too ingenious to receive more than a passing reference.[9]
+
+[Footnote 8: Semper, I., p. 132.]
+
+[Footnote 9: Schmarsow, p. 10.]
+
+[Illustration: _Alinari_
+
+POGGIO
+
+CATHEDRAL, FLORENCE]
+
+There is one detail in the statue of Poggio which raises a problem
+familiar to students of fifteenth-century art, especially frequent in
+paintings of the Madonna, namely, the cryptic lettering to be found on
+the borders of garments. In the case of Poggio, the hem of the tunic
+just below the throat is incised with deep and clear cyphers which
+cannot be read as a name or initials. Many cases could be quoted to
+illustrate the practice of giving only the first letters of words
+forming a sentence.[10] In this case the script is not Arabic, as on
+Verrocchio's David. The lettering on the Poggio, as on Donatello's
+tomb of Bishop Pecci at Siena and elsewhere, has not been
+satisfactorily explained. Even if painters were in the habit of
+putting conventional symbols on their pictures in the form of
+inscriptions, it is not likely that this careful and elaborate carving
+should be meaningless. The solution may possibly be found in Vettorio
+Ghiberti's drawing of a bell, the rim of which is covered with similar
+hieroglyphics. The artist has transcribed in plain writing a pleasant
+Latin motto which one may presume to be the subject of the
+inscription. If this were accurately deciphered a clue might be found
+to unravel this obscure problem.[11]
+
+[Footnote 10: The conclusion of Dello's epitaph, as recorded by
+Vasari, is H.S.E.S.T.T.L.--_i.e._, _Hic sepultus est, sit tibi terra
+levis_. The bas-relief of Faith in the Bargello is signed O.M.C.L.,
+_i.e._, _Opus Mattæi Civitali Lucensis_. There is a manuscript of St.
+Jerome in the Rylands Library at Manchester in which long texts are
+quoted by means of the initial letters alone.]
+
+[Footnote 11: MS. Sketch-Book in Bibl. Naz., Florence, lettered
+"Ghiberti," folio 51a.]
+
+[Illustration: _Alinari_
+
+MOCENIGO TOMB
+
+SAN GIOVANNI E PAOLO, VENICE]
+
+Closely analogous to the statue which we must continue to call Poggio
+is a striking figure of Justice surmounting the tomb of Tommaso
+Mocenigo in the Church of San Giovanni e Paolo at Venice. Mocenigo
+died in 1423, and the tomb was made by two indifferent Florentine
+artists, whose poor and imitative work must be referred to later on in
+connection with the St. George. But the Justice, a vigorous and
+original figure, holding a scroll and looking downwards, so absolutely
+resembles the Poggio in conception, attitude, and fall of drapery,
+that the authorship must be referred to Donatello himself. It is
+certainly no copy. One cannot say how this isolated piece of
+Donatello's work should have found its way to Venice, although by 1423
+Donatello's reputation had secured him commissions for Orvieto and
+Ancona and Siena. But it is not necessary to suppose that this Justice
+was made to order for the Mocenigo tomb; had it remained in Florence
+it would have been long since accepted as a genuine example of the
+master.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. JOHN THE EVANGELIST
+
+CATHEDRAL, FLORENCE]
+
+
+[Sidenote: St. John the Evangelist and the marble David.]
+
+The third great statue made for the façade by Donatello is now placed
+in a dark apsidal chapel, where the light is so bad that the figure is
+often invisible. This is the statue of St. John the Evangelist, and is
+much earlier than Poggio, having been ordered on December 12, 1408.
+Two evangelists were to be placed on either side of the central door.
+Nanni di Banco was to make St. Luke, Niccolo d'Arezzo St. Mark, and
+it was intended that the fourth figure should be entrusted to the most
+successful of the three sculptors; but in the following year the
+Domopera changed their plan, giving the commission for St. Matthew to
+Bernardo Ciuffagni, a sculptor somewhat older than Donatello.
+Ciuffagni was not unpopular as an artist, for he received plenty of
+work in various parts of Italy; but he was a man of mediocre talent,
+neither archaic nor progressive, making occasional failures and
+exercising little influence for good or ill upon those with whom he
+came in contact. He has, however, one valued merit, that of being a
+man about whom we have a good deal of documentary information.
+Donatello worked on the St. John for nearly seven years, and,
+according to custom, was under obligation to complete the work within
+a specified time. Penalty clauses used to be enforced in those days.
+Jacopo della Quercia ran the danger of imprisonment for neglecting the
+commands of Siena. Torrigiano having escaped from England was recalled
+by the help of Ricasoli, the Florentine resident in London, and was
+fortunate to avoid punishment. Donatello finished his statue in time,
+and received his final instalment in 1415, the year in which the
+figures were set up beside the great Porch. This evangelist, begun
+when Donatello was twenty-two and completed before his thirtieth year,
+challenges comparison with one worthy rival, the Moses of Michael
+Angelo. The Moses was the outcome of many years of intermittent
+labour, and was created by the help of all the advances made by
+sculpture during a century of progress. Yet in one respect only can
+Michael Angelo claim supremacy. Hitherto Donatello had made nothing
+but standing figures. The St. John sits; he is almost inert, and does
+not seem to await the divine message. But how superb it is, this
+majestic calm and solemnity; how Donatello triumphs over the lack of
+giving tension to what is quiescent! The Penseroso also sits and
+meditates, but every muscle of the reposing limbs is alert. So, too,
+in the Moses, with all its exaggeration and melodrama, with its aspect
+of frigid sensationalism, which led Thackeray to say he would not like
+to be left alone in the room with it, we find every motionless limb
+imbued with vitality and the essentials of movement. The Moses
+undoubtedly springs from the St. John, transcending it as Beethoven
+surpassed Haydn. In spite of nearly unpardonable faults verging on
+decadence, it is the greater though the less pleasing creation of the
+two. The St. John surveys the world; the Moses speaks with God.
+
+[Illustration: _Alinari_
+
+MARBLE DAVID
+
+BARGELLO, FLORENCE]
+
+The fourth statue made for the Cathedral proper is contemporary with
+the St. John. The marble David, ordered in 1408 and completed in 1416,
+was destined for a chapel inside the church. The Town Commissioners,
+however, sent a somewhat peremptory letter to the Domopera and the
+statue was handed over to them. It was placed in the great hall of the
+Palace, was ultimately removed to the Uffizzi, and is now in the
+Bargello Museum. The David certainly has a secular look. This ruddy
+youth of a fair countenance, crowned with a wreath, stands in an
+attitude which is shy and perhaps awkward, and by his feet lies the
+head of Goliath with the smooth stone from the brook deeply embedded
+in his forehead. The drapery of the tunic is close fitting, moulded
+exactly to the lines of his frame, and above it a loose cloak hangs
+over the shoulders and falls to the ground with a corner of cloth
+looped over one of the wrists in a familiar way.[12] It would be
+idle to pretend that the David is a marked success like the St. John.
+It neither attains an ideal, as in the St. George, nor is it a
+profound interpretation of character like the Habbakuk or Jeremiah.
+Its effect is impaired by this sense of compromise and uncertainty. It
+is one of the very rare cases in which Donatello hesitated between
+divergent aims and finally translated his doubts into marble.
+
+[Footnote 12: _Cf._ Madame André's prophet and figures on Mandorla
+door.]
+
+       *       *       *       *       *
+
+[Sidenote: Statues of the Campanile.]
+
+We must now refer to a group of statues which adorn the Campanile, the
+great Bell tower designed by Giotto for the Cathedral. Not counting
+the numerous reliefs, there are sixteen statues in all, four on each
+side of the tower, and in themselves they epitomise early Florentine
+sculpture. Donatello's statues of Jeremiah, Abraham, and St. John the
+Baptist offer no difficulties of nomenclature, but the Zuccone and the
+Habbakuk are so called on hypothetical grounds. The Zuccone has been
+called by this familiar nickname from time immemorial: bald-head or
+pumpkin--such is the meaning of the word, and nobody has hitherto
+given a reasoned argument to identify this singular figure with any
+particular prophet. As early as 1415 Donatello received payment for
+some of this work, and the latest record on the subject is dated 1435.
+We may therefore expect to find some variety in idea and considerable
+development in technique during these twenty years. Donatello was not
+altogether single-handed. It is certain that by the time these
+numerous works were being executed he was assisted by scholars, and
+the Abraham was actually made in collaboration with Giovanni di
+Bartolo, surnamed Il Rosso. It is not easy to discriminate between the
+respective shares of the partners. Giovanni was one of those men whose
+style varied with the dominating influence of the moment. At Verona he
+almost ceased to be Florentine: at Tolentino he was himself; working
+for the Campanile he was subject to the power of Donatello. The
+Prophet Obadiah, which corresponds in position to the St. John Baptist
+of Donatello on the western face of the tower, shows Rosso to have
+been a correct and painstaking sculptor, with notions much in advance
+of Ciuffagni's; noticeable also for a refinement in the treatment of
+hands, in which respect many of his rivals lagged far behind. Judging
+from the inscription at Verona, Rosso was appreciated by others--or by
+himself:[13] he is, in fact, an artist of merit, rarely falling below
+a respectable average in spite of the frequency with which he changed
+his style.
+
+[Footnote 13: On the Brenzoni tomb in the Church of San Fermo: "Quem
+genuit Russi Florentia Tusca Johañis: istud sculpsit opus ingeniosa
+manus."]
+
+       *       *       *       *       *
+
+[Sidenote: St. John the Baptist.]
+
+Rosso does not compare favourably with Donatello. Obadiah is less
+attractive than St. John the Baptist, its _pendant_. The test is
+admittedly severe, for the St. John is a figure remarkable alike in
+conception and for its technical skill. Were it not for the scroll
+bearing the "Ecce Agnus Dei," we should not suggest St. John as the
+subject. Donatello made many Baptists--boys, striplings and men young
+and mature: but in this case only have we something bright and
+cheerful. He is no mystic; he differs fundamentally from the gloomy
+ascetic and the haggard suffering figures in Siena and Berlin. So far
+from being morose in appearance, clad in raiment of camel's hair, fed
+upon locusts and wild honey, and summoning the land of Judæa to
+repent, we have a vigorous young Tuscan, well dressed and well fed,
+standing in an easy and graceful attitude and not without a tinge of
+pride in the handsome countenance. In short, the statue is by no means
+typical of the Saint. It would more aptly represent some romantic
+knight of chivalry, a Victor, a Maurice--even a St. George. It
+competes with Donatello's own version of St. George. In all essentials
+they are alike, and the actual figures are identical in gesture and
+pose, disregarding shield and armour in one case, scroll and drapery
+in the other. The two figures are so analogous, that as studies from
+the nude they would be almost indistinguishable. They differ in this:
+that the Saint on the Campanile is John the Baptist merely because we
+are told so, while the figure made for Or San Michele is inevitably
+the soldier saint of Christendom. It must not be inferred that the
+success of plastic, skill less that of pictorial, art depends upon the
+accuracy or vividness with which the presentment "tells its story."
+Under such a criterion the most popular work of art would necessarily
+bear the palm of supremacy. But there should be some relation between
+the statue and the subject-matter. Nobody knew this better than
+Donatello: he seldom incurred the criticism directed against Myron the
+sculptor--_Animi sensus non expressisse videtur_.[14] The occasional
+error, such as that just noticed, or when he gives Goliath the head of
+a mild old gentleman,[15] merely throws into greater prominence the
+usual harmony between his conception and its embodiment. The task of
+making prophets was far from simple. Their various personalities,
+little known in our time, were conjectural in his day: neither would
+the conventional scroll of the prophet do more than give a generic
+indication of the kind of person represented. Donatello, however, made
+a series of figures from which the [Greek: êthos] of the prophets
+emanates with unequalled force.
+
+[Footnote 14: Pliny, xxxiv. 19, 3.]
+
+[Footnote 15: Bargello David.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+JEREMIAH
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: Jeremiah and the Canon of Art.]
+
+The Jeremiah, for instance, which is in the niche adjacent to the
+still more astonishing Zuccone (looking westwards towards the
+Baptistery), is a portrait study of consummate power. It is the very
+man who wrote the sin of Judah with a pen of iron, the man who was
+warned not to be dismayed at the faces of those upon whose folly he
+poured the vials of anger and scorn; he is emphatically one of those
+who would scourge the vices of his age. And yet this Jeremiah has his
+human aspect. The strong jaw and tightly closed lips show a decision
+which might turn to obstinacy; but the brow overhangs eyes which are
+full of sympathy, bearing an expression of sorrow and gentleness such
+as one expects from the man who wept for the miserable estate of
+Jerusalem--_Quomodo sedet sola civitas!_
+
+Tradition says that this prophet is a portrait of Francesco Soderini,
+the opponent of the Medici; while the Zuccone is supposed to be the
+portrait of Barduccio Cherichini, another anti-Medicean partisan.
+Probabilities apart, much could be urged against the attributions,
+which are really on a par with the similar nomenclatures of Manetti
+and Poggio. The important thing is that they are undoubted
+portraits, their identity being of secondary interest; the fact that a
+portrait was made at all is of far greater moment to the history of
+art. Later on, Savonarola (whose only contribution to art was an
+unconscious inspiration of the charming woodcuts with which his
+sermons and homilies were illustrated) protested warmly against the
+prevailing habit of giving Magdalen and the Baptist the features of
+living and well-known townsfolk.[16] The practice had, no doubt, led
+to scandal. But with Donatello it marks an early stage in emancipation
+from the bondage of conventionalism. Not, indeed, that Donatello was
+the absolute innovator in this direction, though it is to his efforts
+that the change became irresistible. Thus in these portrait-prophets
+we find the proof of revolution. The massive and abiding art of Egypt
+ignored the personality of its gods and Pharaohs, distinguishing the
+various persons by dress, ornament, and attribute. They had their
+canon of measurement, of which the length of the nose was probably the
+unit.[17] The Greeks, who often took the length of the human foot as
+unit, were long enslaved by their canon. Convention made them adhere
+to a traditional face after they had made themselves masters of the
+human form. The early figures of successful athletes were
+conventional; but, according to Pliny, when somebody was winner three
+times the statue was actually modelled from his person, and was called
+a portrait-figure: "_ex membris ipsorum similitudine expressa, quas
+iconicas vocant!_" Not until Lysistratus first thought of reproducing
+the human image by means of a cast from the face itself, did they get
+the true portrait in place of their previous efforts to secure
+generalised beauty.[18] In fact, their canon was so stringent that it
+would permit an Apollo Belvedere to be presented by foppish,
+well-groomed adolescence, with plenty of vanity but with little
+strength, and altogether without the sign-manual of godhead or
+victory. Despite shortcomings, Donatello seldom made the mistake of
+merging the subject in the artist's model: he did not forget that the
+subject of his statue had a biography. He had no such canon. Italian
+painting had been under the sway of Margaritone until Giotto destroyed
+the traditional system. Early Italian coins show how convention breeds
+a canon--they were often depraved survivals of imperial coins, copied
+and recopied by successive generations until the original meaning had
+completely vanished, while the semblance remained in debased outline.
+Nothing can be more fatal than to make a canon of art, to render
+precise and exact the laws of æsthetics. Great men, it is true, made
+the attempt. Leonardo, for instance, gives the recipe for drawing
+anger and despair. His "Trattato della Pintura"[19] describes the
+gestures appropriate for an orator addressing a multitude, and he
+gives rules for making a tempest or a deluge. He had a scientific law
+for putting a battle on to canvas, one condition of which was that
+"there must not be a level spot which is not trampled with gore." But
+Leonardo da Vinci did no harm; his canon was based on literary rather
+than artistic interests, and he was too wise to pay much attention to
+his own rules. Another man who tried to systematise art was Leon
+Battista Alberti, who gave the exact measurements of ideal beauty,
+length and circumference of limbs, &c., thus approaching a physical
+canon. The absurdity of these theories is well shown in the "Rules of
+Drawing Caricatures," illustrated by "mathematical diagrams."[20]
+Development and animation are impossible wherever an art is governed
+by this sterile and deadening code of law. The religious art of the
+Eastern Church has been stationary for centuries, confined within the
+narrow limits of hieratic conventions. Mount Athos has the pathetic
+interest of showing the dark ages surviving down to our own day in the
+vigour of unabated decadence. Though not subjected to any serious
+canon, the predecessors of Donatello seemed at one time in danger of
+becoming conventionalised. But Donatello would not permit his art to
+be divorced from appeals to reason and intellect; once started, his
+theory held its own. Donatello was bound by no laws; with all its
+cadence and complexity his art was unsuited to a canon as would be the
+art of music. He seems almost to have disregarded the ordinary
+physical limitations under which he worked. He had no "cant of
+material," and whether in stone, bronze, wood, or clay, he went
+straight ahead in the most unconcerned manner.
+
+[Footnote 16: In 1496. See Gruyer, "Les Illustrations," 1879, p. 206.]
+
+[Footnote 17: C. Müller, "Ancient Art and its Remains," p. 227.]
+
+[Footnote 18: Pliny, xxxvi. 44.]
+
+[Footnote 19: Printed in Richter's "Literary Works of Leonardo da
+Vinci," vol. i.]
+
+[Footnote 20: By Francis Grose, the Antiquary. London, 1788.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+HABAKKUK
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: Habbakuk and the Sense of Distance.]
+
+We do not know much about Habbakuk. He left two or three pages of
+passionate complaint against the iniquity of the land, but his
+"burden" lacks those outbursts of lyric poetry which are found in most
+of the other minor prophets. Donatello gives him the air of a thinker.
+He holds a long scroll to which he points with his right hand while
+looking downward, towards the door of the Cathedral. It is a strong
+head, as full of character as the Jeremiah. But Habbakuk is less the
+man of action, and the deep lines about the mouth and across the
+forehead show rather the fruits of contemplation. There may be a note
+of scepticism in the face. But this Habbakuk is no ascetic, and there
+is much strength in reserve: his comment though acrid would be just.
+The veins in the throat stand out like cords. They are much more
+noticeable in the photograph than when one sees the statue from the
+Piazza. It must be remembered that these figures on the Campanile are
+something like fifty-five feet from the ground: they were made for
+these lofty positions, and were carved accordingly. They show
+Donatello's sense of distance; the Zuccone shows his sense of light
+and shade, the Abraham his sense of proportion. Donatello had the
+advantage of making these figures for particular places; his sculpture
+was eminently adapted to the conditions under which it was to be seen.
+In the vast majority of cases modern sculpture is made for
+undetermined positions, and is fortunate if it obtains a suitable
+_emplacement_. It seldom gets distance, light and proportion in
+harmony with the technical character of the carving. Donatello paid
+the greatest care to the relation between the location of the statue
+and its carving: his work consequently suffers enormously by removal:
+to change its position is to take away something given it by the
+master himself. The Judith looks mean beneath the Loggia de' Lanzi;
+the original of the St. George in the museum is less telling than the
+copy which has replaced it at Or San Michele. Photography is also apt
+to show too clearly certain exaggerations and violences deliberately
+calculated by Donatello to compensate for distance, as on the
+Campanile, or for darkness, as on the Cantoria. The reproductions,
+therefore, of those works not intended to be seen from close by
+must be judged with this reservation. The classical sculptors seem to
+have been oblivious of this sense of distance. Cases have been quoted
+to show that they did realise it, such as the protruding forehead of
+Zeus or the deep-set eyes of the Vatican Medusa. These are accidents,
+or at best coincidences, for the sense of distance is not shown by
+merely giving prominence to one portion or feature of a face. In Roman
+art the band of relief on the Column of Trajan certainly gets slightly
+broader as the height increases: but the modification was
+half-hearted. It does not help one to see the carving, which at the
+summit is almost meaningless, while it only serves to diminish the
+apparent height of the column. So, too, in the triumphal arches of the
+Roman Emperors little attention was paid to the relative and varying
+attitudes of the bas-reliefs. From Greek art the Parthenon Frieze
+gives a singular example of this unrealised law. When _in situ_ the
+frieze was only visible at a most acute angle and in a most
+unfavourable light: beyond the steps it vanished altogether, so one
+was obliged to stand among the columns to see it at all, and it was
+also necessary to look upwards almost perpendicularly. The frieze is
+nearly three feet four inches high and its upper part is carved in
+rather deeper relief than the base: but, even so, the extraordinary
+delicacy of this unique carving was utterly wasted, since the
+technical treatment of the marble was wholly unsuited to its
+_emplacement_. The amazing beauty of the sculpture and the unsurpassed
+skill of Phidias were never fully revealed until its home had been
+changed from Athens to Bloomsbury.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+THE ZUCCONE
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: The Zuccone, "Realism" and Nature.]
+
+The Zuccone is one of the eternal mysteries of Italian art. What can
+have been Donatello's intention? Why give such prominence to this
+graceless type? Baldinucci called it St. Mark.[21] Others have been
+misled by the lettering on the plinth below the statue "David Rex":
+beneath the Jeremiah is "Salomon Rex."[22] These inscriptions
+belonged, of course, to the kings which made way for Donatello's
+prophets. The Zuccone must belong to the series of prophets; it is
+fruitless to speculate which. Cherichini may have inspired the
+portrait. Its ugliness is insuperable. It is not the vulgar ugliness
+of a caricature, nor is it the audacious embodiment of some hideous
+misshapen creature such as we find in Velasquez, in the Gobbo of
+Verona, or in the gargoyles of Notre Dame. There is no deformity about
+it, probably very little exaggeration. It is sheer uncompromising
+ugliness; rendered by the cavernous mouth, the blear eyes, the flaccid
+complexion, the unrelieved cranium--all carried to a logical
+conclusion in the sloping shoulders and the simian arms. But the
+Zuccone is not "revenged of nature": there is nothing to "induce
+contempt." On the other hand, indeed, there is a tinge of sadness and
+compassion, objective and subjective, which gives it a charm, even a
+fascination. _Tanto è bella_, says Bocchi, _tanto è vera, tanto è
+naturale_, that one gazes upon it in astonishment, wondering in truth
+why the statue does not speak![23] Bocchi's criticism cannot be
+improved. The problem has been obfuscated by the modern jargon of art.
+Donatello has been charged with orgies of realism and so forth. There
+may be realism, but the term must be used with discretion: nowadays
+it generally connotes the ugly treatment of an ugly theme, and is
+applied less as a technical description than as a term of abuse.
+Donatello was certainly no realist in the sense that an ideal was
+excluded, nor could he have been led by realism into servile imitation
+or the multiplication of realities. After a certain point the true
+ceases to be true, as nobody knew better than Barye, the greatest of
+the "realists." The Zuccone can be more fittingly described in
+Bocchi's words. It is the creation of a verist, of a naturalist,
+founded on a clear and intimate perception of nature. Donatello was
+pledged to no system, and his only canon, if such existed, was the
+canon of observation matured by technical ability. We have no reason
+to suppose that Donatello claimed to be a deep thinker. He did not
+spend his time, like Michael Angelo, in devising theories to explain
+the realms of art. He was without analytical pedantry, and, like his
+character, his work was naïve and direct. Nor was he absorbed by
+appreciation of "beauty," abstract or concrete. If he saw a man with a
+humped back or a short leg he would have been prepared to make his
+portrait, assuming that the entity was not in conflict with the
+subject in hand. Hence the Zuccone. Its mesmeric ugliness is the
+effect of Donatello's gothic creed, and it well shows how Donatello,
+who from his earliest period was opposed to the conventions of the
+Pisan school, took the lead among those who founded their art upon the
+observation of nature. A later critic, shrewd and now much neglected,
+said that Titian "contented himself with pure necessity, which is the
+simple imitation of nature."[24] One could not say quite so much of
+Donatello, in whom, curiously enough, the love of nature was limited
+to its human aspect. He seems to have been impervious to outdoor
+nature, to the world of plants and birds and beasts. Ghiberti, his
+contemporary, was a profound student of natural life in all its forms,
+and the famous bronze doors of the Baptistery are peopled with the
+most fanciful products of his observation. "I strove to imitate nature
+to the utmost degree," he says in his commentary.[25] Thus Ghiberti
+makes a bunch of grapes, and wanting a second bunch as _pendant_, he
+takes care to make it of a different species. The variety and richness
+of his fruit and flower decoration are extraordinary and, if possible,
+even more praiseworthy than the dainty garlands of the Della Robbia.
+With Donatello all is different. He took no pleasure in enriching his
+sculpture in this way. The Angel of the Annunciation carries no lily;
+when in the Tabernacle of St. Peter's he had to decorate a pilaster he
+made lilies, but stiff and unreal. His trees in the landscape
+backgrounds of the Charge to Peter and the Release of Princess Sabra
+by St. George are tentative and ill-drawn. The children of the
+Cantoria, the great singing gallery made for the Cathedral, are
+dancing upon a ground strewn with flowers and fruit. The idea was
+charming, but in executing it Donatello could only make _cut_ flowers
+and withered fruit. There is no life in them, no savour, and the
+energy of the children seems to have exhausted the humbler form of
+vitality beneath their feet. Years afterwards, when Donatello's
+assistants were allowed a good deal of latitude, we find an effort to
+make more use of this invaluable decoration: the pulpits of San
+Lorenzo, for instance, have some trees and climbing weeds showing keen
+study of nature. But Donatello himself always preferred the
+architectural background, in contrast to Leonardo da Vinci, who, with
+all his love of building, seldom if ever used one in the backgrounds
+of his pictures: but then Leonardo was the most advanced botanist of
+his age.
+
+[Footnote 21: Edition 1768, p. 74.]
+
+[Footnote 22: _E.g._, Milanesi, Catalogo, 1887, p. 6.]
+
+[Footnote 23: Cinelli's edition, 1677, p. 45.]
+
+[Footnote 24: Raffaelle Mengs, Collected Works. London, 1796, I., p.
+132.]
+
+[Footnote 25: Printed in Vasari, Lemonnier Ed., 1846, vol. i.]
+
+       *       *       *       *       *
+
+[Sidenote: The Zuccone and the Sense of Light and Shade.]
+
+Speaking of the employment of light and shade as instruments in art,
+Cicero says: "_Multa vident pictores in umbris et in eminentia, quæ
+nos non videmus_." One may apply the dictum to the Zuccone where
+Donatello has carved the head with a rugged boldness, leaving the play
+of light and shade to complete the portrait. Davanzati was explicit on
+the matter,[26] showing that the point of view from which the Zuccone
+was visible made this coarse treatment imperative, if the spectator
+below was to see something forcible and impressive. "The eyes," he
+says, "are made as if they were dug out with a shovel: eyes which
+would appear lifelike on the ground level would look blind high up on
+the Campanile, for distance consumes diligence--_la lontananza si
+mangia la diligenzia_." The doctrine could not be better stated, and
+it governs the career of Donatello. There is nothing like the Zuccone
+in Greek art: nothing so ugly, nothing so wise. Classical sculptors in
+statues destined for lofty situations preserved the absolute truth of
+form, but their diligence was consumed by distance. What was true in
+the studio lost its truth on a lofty pediment or frieze. They
+preserved accuracy of form, but they sacrificed accuracy of
+appearance; whereas relative truth was in reality far more
+important--until, indeed, the time comes when the lights and shades of
+the studio are reproduced in some art gallery or museum.
+
+[Footnote 26: In Introduction to his translation of Tacitus.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ABRAHAM AND ISAAC
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: Abraham and the Sense of Proportion.]
+
+The statue of Abraham and Isaac on the east side of the Campanile is
+interesting as being the first group made by Donatello. The subject
+had already been treated by Brunellesco and Ghiberti in relief.
+Donatello had to make his figures on a larger scale. Abraham is a
+tall, powerful man with a long flowing beard, looking upwards as he
+receives the command to sheath the dagger already touching the
+shoulder of his son. The naked boy is kneeling on his left leg and is
+modelled with a good deal of skill, though, broadly speaking, the
+treatment is rather archaic in character. It is a tragic scene, in
+which the contrast of the inexorable father and the resigned son is
+admirably felt. Donatello had to surmount a technical difficulty, that
+of putting two figures into a niche only intended for one. His sense
+of proportion enabled him to make a group in harmony with its position
+and environment. It _fits_ the niche. Statues are so often unsuited to
+their niches; scores of examples could be quoted from Milan Cathedral
+alone where the figures are too big or too small, or where the base
+slopes downwards and thus fails to give adequate support to the
+figure. There is an old tradition which illustrates Donatello's
+aptitude for grouping. Nanni di Banco had to put four martyrs into a
+niche of Or San Michele, and having made his statues found it
+impossible to get them in. Donatello was invoked, and by removing a
+superfluous bit of marble here, and knocking off an arm there, the
+four figures were successfully grouped together. The statues, it must
+be admitted, show no signs of such usage, and Nanni was a competent
+person: but the story would not have been invented unless Donatello
+had been credited in his own day with the reputation of being a
+master of proportion and grouping. Donatello, however, never really
+excelled in the free standing group. His idea was a suite or series of
+figures against a background, a bas-relief. The essential quality of a
+group is that there should be something to unite the figures. We find
+this in the Abraham, but the four martyrs by Nanni di Banco are
+standing close together as if by chance, and cannot properly be called
+a group in anything but juxtaposition of figures. Il Rosso helped to
+make Abraham. The commission was given jointly to the two sculptors in
+March 1421, and the statue was finished, with unusual expedition, by
+November of the same year. The hand of Rosso cannot be easily detected
+except in the drapery, which differs a good deal from Donatello's. The
+latter must have been chiefly responsible for the grouping and wholly
+so for the fine head of Abraham.
+
+       *       *       *       *       *
+
+[Sidenote: Drapery and Hands.]
+
+Rosso's drapery was apt to be treated in rather a small way with a
+number of little folds. Donatello, on the other hand, often tended to
+the opposite extreme, and in the Campanile figures we see the clothes
+hanging about the prophets in such ample lines that the Zuccone and
+Jeremiah are overweighted with togas which look like heavy blankets.
+Habbakuk and the Baptist are much more skilfully draped, deference
+being shown to the anatomy. "To make drapery merely natural," said Sir
+Joshua Reynolds, "is a mechanical operation to which neither genius
+nor taste are required: whereas it requires the nicest judgment to
+dispose the drapery so that the folds have an easy communication, and
+gracefully follow each other with such natural negligence as to look
+like the effect of chance, and at the same time show the figure under
+it to the utmost advantage."[27] The sculptors of the fifteenth
+century did not find it so easy to make drapery look purely natural,
+and we are often confronted by cases where they failed in this
+respect. It arose partly from a belief that drapery was nothing more
+than an accessory, partly also from their ignorance of what was so
+fully realised by the Greeks, that there can be very little grace in a
+draped figure unless there are the elements of beauty below. Another
+comment suggested by Donatello's early work in marble is that he was
+not quite certain how to model or dispose the hands. They are often
+unduly big; Michael Angelo started with the same mistake: witness his
+David and the Madonna on the Stairs. It was a mistake soon rectified
+in either case. But till late in life Donatello never quite succeeded
+in giving nerve or occupation to his hands. St. Mark, St. Peter, and
+St. John all have a book in their left hands, but none of them _hold_
+the book; it has no weight, the hand shows no grip and has no sense of
+possession. Neither did Donatello always know where to put the hands,
+giving them the shy and self-conscious positions affected by the
+schoolboy. The Bargello David is a case in point. His hands are idle,
+they have really nothing to do, and their position is arbitrary in
+consequence. It is all a descent from the Gothic, where we find much
+that is inharmonious and paradoxical, and a frequent lack of concord
+between the component parts. St. George, standing erect in his niche,
+holds the shield in front of him, its point resting on the ground.
+But, notwithstanding the great progress made by Donatello in
+modelling these hands--(so much indeed that one might almost suspect
+the bigger hands of contemporary statues to be faithful portraits of
+bigger hands)--one feels that the shield does not owe its upright
+position to the constraint of the hands. They do not reflect the
+outward pressure of the heavy shield, which could almost be removed
+without making it necessary to modify their functions or position. It
+was reserved for Michael Angelo to achieve the unity of purpose and
+knowledge needed in portraying the human hand. He was the first among
+Italian sculptors to render the relation of the hand to the wrist, the
+wrist to the forearm, and thence to the shoulder and body. In the
+fifteenth century nobody fully understood the sequence of muscles
+which correlates every particle of the limb, and Donatello could not
+avoid the halting and inconclusive outcome of his inexperience.
+
+[Footnote 27: Discourses, 1778, p. 116.]
+
+       *       *       *       *       *
+
+[Sidenote: Minor Works for the Cathedral.]
+
+There remain a few minor works for the Cathedral which require notice.
+In October 1421 an unfinished figure by Ciuffagni was handed over to
+Donatello and Il Rosso. It is probable that Dr. Semper is correct in
+thinking that this may be the statue on the East side of the Cathedral
+hitherto ascribed to Niccolo d'Arezzo, though it can hardly be the
+missing Joshua. We have here a middle-aged man with a long beard, his
+head inclined forward and supported by his upraised hand with its
+forefinger extended. Donatello was fond of youth, but not less of
+middle age. With all their power these prophets are middle-aged men
+who would walk slowly and whose gesture would be fraught with mature
+dignity. Donatello did not limit to the very young or the very old the
+privilege of seeing visions and dreaming dreams. Two other statues by
+Donatello have perished. These are Colossi,[28] ordered probably
+between 1420 and 1425, and made of brick covered with stucco or some
+other kind of plaster. They stood outside the church, on the buttress
+pillars between the apsidal chapels. One of them was on the north
+side, as an early description mentions the "_Gigante sopra la
+Annuntiata_,"[29] that is above the Annunciation on the Mandorla door.
+The perishable material of these statues was selected, no doubt, owing
+to the difficulty and expense of securing huge monoliths of marble. In
+this case one must regret their loss, as the distance from which they
+would be seen would amply justify their heroic dimensions. But the
+idea of Colossi, which originated in Egypt and the East, is to
+astonish, and to make the impression through the agency of bulk. The
+David by Michael Angelo is great in spite of its unwieldiness. Michael
+Angelo himself was under no illusions about these Colossi. His letter
+criticising the proposal to erect a colossal statue of the Pope on the
+Piazza of San Lorenzo is in itself a delightful piece of humour, and
+ridiculed the conceit with such pungency that the project was
+abandoned. Finally, Donatello made two busts of prophets for the
+Mandorla door. The commission is previous to May 1422, when it is
+noted that Donatello was to receive six golden florins for his work.
+They are profile heads carved in relief upon triangular pieces of
+marble, which fill two congested architectural corners. They look like
+the result of a whim, and at first sight one would think they were
+ordered late in the history of the door to supplement or replace
+something unsatisfactory. But this is not the case. Half corbel and
+half decoration, they are curious things: one shows a young man, the
+other an older bearded man. Both have long hair drawn back by a
+fillet, and in each case one hand is placed across the breast. They
+have quite a classical look, and are the least interesting as well as
+the least noticeable of the numerous sculptures made for the Cathedral
+by Donatello. The Domopera evidently appreciated his talent. To this
+day, besides these busts and the two small prophets, there survive at
+least nine marble figures made for the Duomo, some of them well over
+life size. There were also the Colossi, and it will be seen later on
+that the Domopera gave him further commissions for bronze doors,
+Cantoria, altar and stained glass; he also was employed as an
+architectural expert. Years of Donatello's life were spent on the
+embellishment of Santa Maria del Fiore, a gigantic task which he
+shared with his greatest predecessors and his most able
+contemporaries. The task, indeed, was never fully accomplished. The
+Campanile is not crowned by the spire destined for it by Giotto: the
+façade has perished and the interior is marred by the errors of
+subsequent generations. But the Cathedral of Florence must
+nevertheless take high rank among the most stately churches of
+Christendom.
+
+[Footnote 28: They were standing as late as 1768. Baldinucci, p. 79.]
+
+[Footnote 29: Memoriale, 1510.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. MARK
+
+OR SAN MICHELE]
+
+
+[Sidenote: Or San Michele, St. Peter and St. Mark.]
+
+From the earliest times there used to be a church dedicated to St.
+Michael, which stood within the _orto_, the garden named after the
+saint. The church was, however, removed in the thirteenth century and
+was replaced by an open _loggia_, which was used for a corn market and
+store. In the following century the open arches of the _loggia_ were
+built up, again making a church of the building, in which a venerated
+Madonna, for which Orcagna made the tabernacle, was preserved. The
+companies and merchant guilds of Florence undertook to present statues
+to decorate the external niches of the building. Besides Donatello,
+Ghiberti, Verrocchio, Gian Bologna and Nanni di Banco were employed;
+and there are also some admirable medallions by Luca della Robbia.
+Donatello made four statues--St. Peter, St. Mark, St. Louis and St.
+George. He was to have made St. Phillip as well, but the shoemakers
+who ordered the statue could not afford to pay Donatello's price and
+the work was entrusted to Nanni di Banco. Two only of Donatello's
+statues are left at Or San Michele, the St. Louis being now in Santa
+Croce, while the St. George has been placed in the Bargello. All these
+statues were put into niches of which the base is not more than eight
+feet from the ground, and being intended to be seen at a short
+distance are carved with greater attention to detail and finish than
+is the case with the prophets on the Campanile. St. Peter is probably
+the earliest in date, having been made, judging from stylistic
+grounds, between 1407 and 1412. This statue shows a doubt and
+hesitation which did not affect Donatello when making the little
+prophets for the Mandorla door. The head is commonplace and
+inexpressive; the pose is dull, and the drapery with its crimped edges
+ignores the right leg. There is, however, nothing blameworthy in the
+statue, but, on the other hand, there is nothing showing promise or
+deserving praise. Had it been made by one of the _macchinisti_ of the
+time it would have lived in decent obscurity without provoking
+comment. In fact the statue does not owe its appearance in critical
+discussions to its own merits, but to the later achievement of the
+sculptor. Thus only can one explain Bocchi's opinion that "living man
+could not display truer deportment than we find in the St. Peter."[30]
+One of the figures from the Cathedral façade now in the Louvre, an
+apostle or doctor of the Church, shows whence Donatello derived his
+prosy idea, though the St. Peter is treated in a less archaic manner.
+The St. Mark is much more successful: there is conviction as well as
+vigour and greater skill. Michael Angelo exclaimed that nobody could
+disbelieve the Gospel when preached by a saint whose countenance is
+honesty itself. The very drapery--_il prudente costume e
+religioso_--[31] was held to contribute to Michael Angelo's praise.
+The grave and kindly face, devout and holy,[32] together with a
+certain homeliness of attitude, give the St. Mark a character which
+would endear him to all. He would not inspire awe like the St. John or
+indifference like St. Peter. He is a very simple, lovable person whose
+rebuke would be gentle and whose counsel would be wise. In 1408 the
+_Linaiuoli_, the guild of linen-weavers, gave their order to select
+the marble, and in 1411 the commission was given to Donatello, having
+been previously given to Niccolo d'Arezzo, who himself became one of
+Donatello's guarantors. The work had to be finished within eighteen
+months, and the heavy statue was to be placed in the niche at the
+sculptor's own risk. The statement made by Vasari that Brunellesco
+co-operated on the St. Mark is not borne out by the official
+documents. It is interesting to note that the guild gave Donatello the
+height of the figure, leaving him to select the corresponding
+proportions. The statue was to be gilded and decorated.[33] A further
+commission was given to two stone-masons for the niche, which was to
+be copied from that of Ghiberti's St. Stephen. These niches have been
+a good deal altered in recent times, and the statues are in
+consequence less suited to their environment than was formerly the
+case. Judging from the plates in Lasinio's book, the accuracy of which
+has not been contested, it appears that the niches of St. Eligius and
+St. Mark have been made more shallow, while the crozier of the former
+and the key in St. Peter's hand are not shown at all, and must be
+modern restorations.
+
+[Footnote 30: Cinelli ed., p. 66.]
+
+[Footnote 31: Bocchi, 1765 ed., p. 128.]
+
+[Footnote 32: _Spira il volto divozione e Santità_, Cinelli, p. 66.]
+
+[Footnote 33: Gualandi, "Memorie," Series 4, p. 106.]
+
+       *       *       *       *       *
+
+[Sidenote: St. Louis.]
+
+The St. Louis is made of bronze. The reputation of this admirable
+figure has been prejudiced by a ridiculous bit of gossip seriously
+recorded by Vasari, to the effect that, having been reproached for
+making a clumsy figure, Donatello replied that he had done so with set
+purpose to mark the folly of the man who exchanged the crown for a
+friar's habit. Vasari had to enliven his biographies by anecdotes, and
+their authenticity was not always without reproach. In view of his
+immense services to the history of art one will gladly forgive these
+pleasantries; but it is deplorable when they are solemnly quoted as
+infallible. One author says: "... _impossibile a guardare quel goffo e
+disgraziato San Lodovico senza sentire una stretta al cuore_." This is
+preposterous. The statue has faults, but they do not spring from
+organic error. The Bishop is overweighted with his thick vestments,
+and his mitre is rather too broad for the head; the left hand,
+moreover, is big and Donatellesque. But the statue, now placed high
+above the great door of Santa Croce, is seen under most unfavourable
+conditions, and would look infinitely better in the low niche of Or
+San Michele. Its proportions would then appear less stumpy, and we
+would then be captivated by the beauty of the face. It has real
+"beauty"; the hackneyed and misused term can only be properly applied
+to Donatello's work in very rare cases, of which this is one. The face
+itself is taken from some model, which could be idealised to suit a
+definite conception, and in which the pure and symmetrical lines are
+harmonised with admirable feeling. Every feature is made to
+correspond, interrelated by some secret necessary to the art of
+portraiture. The broad brow and the calm eyes looking upwards are in
+relation with the delicately chiselled nose and mouth, while the right
+hand, which is outstretched in giving the blessing, is rendered with
+infinite sentiment and grace. St. Louis, in short, deserves high
+commendation, as, in spite of errors, it achieves something to which
+Donatello seldom aspired; and it has the further interest of being his
+earliest figure in bronze, a material in which some of his most
+renowned works were executed. The whole question of Donatello's share
+in the actual casting will be considered at a later stage. It will be
+enough to say at this point that the St. Louis, which was probably
+finished about 1425, was cast with the assistance of Michelozzo.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. GEORGE
+
+IN NICHE ON OR SAN MICHELE]
+
+
+[Sidenote: St. George.]
+
+The St. George is the most famous of Donatello's statues, and is
+generally called his masterpiece. The marble original has now been
+taken into the Museum, and a bronze cast replaces it at Or San
+Michele. The cause of this transfer is understood to be a fear that
+the statue would be ruined by exposure, although one would think that
+this would apply still more to the exquisite relief, which remains _in
+situ_, though unprotected by the niche. In the side-lighted Bargello,
+the St. George is crowded into a shallow niche (with plenty of highly
+correct detail) and is seen to the utmost disadvantage; but no
+incongruity of surroundings, no false relations of light can destroy
+the profound impression left by this statue, which was probably
+completed about 1416, in Donatello's thirtieth year. Vasari was
+enthusiastic in its praise. Bocchi wrote a whole book about it,[34] in
+which we might expect to find valuable information; but the interest
+of this ecstatic eulogy is limited. Bocchi gives no dates, facts or
+authorities; nothing to which modern students can turn for accurate or
+specific knowledge of Donatello. Cinelli says the St. George was held
+equal to the rarest sculpture of Rome,[35] and well it might be. The
+St. George was made for the Guild of Armourers; he is, of course,
+wearing armour, and the armour fits him, clothes him. It is not the
+clumsy inelastic stuff which must have prevented so many soldiers from
+moving a limb or mounting a horse. In this case the lithe and muscular
+frame is free and full of movement, quite unimpeded by the defensive
+plates of steel. He stands upright, his legs rather apart, and the
+shield in front of him, otherwise he is quite unarmed; the St. George
+in the niche is alert and watchful: in the bas-relief he manfully
+slays the dragon. The head is bare and the throat uncovered; the face
+is full of confidence and the pride of generous strength, but with no
+vanity or self-consciousness. Fearless simplicity is his chief
+attribute, though in itself simplicity is no title to greatness: with
+Donatello, Sophocles and Dante would be excluded from any category of
+greatness based on simplicity alone. St. George has that earnest and
+outspoken simplicity with which the mediæval world invested its
+heroes; he springs from the chivalry of the early days of Christian
+martyrdom, the greatest period of Christian faith. Greek art had no
+crusader or knight-errant, and had to be content with Harmodius and
+Aristogeiton. Even the Perseus legend, which in so many ways reminds
+one of St. George, was far less appreciated as an incident by
+classical art than by the Renaissance; and even then not until patron
+and artist were growing tired of St. George. M. Reymond has pointed
+out the relation of Donatello's statue to its superb analogue, St.
+Theodore of Chartres Cathedral. "_C'est le souvenir de tout un monde
+qui disparaît._"[36] Physically it may be so. The age of chivalry may
+be passed in so far that the prancing steed and captive Princess
+belong to remote times which may never recur. But St. George and St.
+Theodore were not merely born of legend and fairy tale; their spirit
+may survive in conditions which, although less romantic and
+picturesque, may still preserve intact the essential qualities of the
+soldier-saint of primitive times. The influence of the St. George upon
+contemporary art seems to have been small. The Mocenigo tomb, which
+has already been mentioned, has a figure on the sarcophagus obviously
+copied from the St. George; and elsewhere in this extremely curious
+example of plagiarism we find other figures suggested by Donatello's
+statues. The little figure in the Palazzo Pubblico at Pistoja is
+again an early bit of piracy. In the courtyard of the Palazzo
+Quaratesi in Florence, built by Brunellesco between 1425 and 1430, an
+early version of the head of St. George was placed in one of the
+circular panels above the pillars. It is without intrinsic importance,
+being probably a cast, but it shows how early the statue was
+appreciated. A more important cast is that of the bas-relief now in
+London, which has a special interest from having been taken before the
+original had suffered two or three rather grievous blows.[37]
+Verrocchio made a drawing of the St. George,[38] and Mantegna
+introduced a similar figure into his picture of St. James being led to
+execution.[39] But Donatello's influence cannot be measured by the
+effect of St. George. In this particular case his work did not
+challenge competition; its perfection was too consummate to be of
+service except to the copyist. In some ways it spoke the last word;
+closed an episode in the history of art--[Greek: eschatos tou idiou
+genous].
+
+[Footnote 34: "Eccelenza della Statua del San Giorgio di Donatello,"
+1571.]
+
+[Footnote 35: Bellezze, 1677, p. 67.]
+
+[Footnote 36: "La Sculpture Florentine," vol. ii. p. 91.]
+
+[Footnote 37: Victoria and Albert Museum, 7607, 1861.]
+
+[Footnote 38: Uffizzi, frame 49.]
+
+[Footnote 39: Eremitani, Padua, about 1448-50.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. GEORGE
+
+BARGELLO]
+
+
+[Sidenote: Donatello and Gothic Art.]
+
+The relation of St. George and other Italian works of this period,
+both in sculpture and painting, to the Gothic art of France cannot be
+ignored, although no adequate explanation has yet been given. St.
+George, the Baptists of the Campanile and in Rome, and the marble
+David are intensely Franco-Gothic, and precisely what one would expect
+to find in France. The technical and physical resemblance between the
+two schools may, of course, be a coincidence; it may be purely
+superficial. But St. Theodore might well take his place outside Or
+San Michele, while the St. George (in spite of the difference in date)
+would be in complete ethical harmony with the statues on the portals
+of Chartres. Even if they cannot be analysed, the phenomena must be
+stated. Donatello may have spontaneously returned to the principles
+which underlay the creation of the great statuary of France, the
+country of all others where a tremendous school had flourished. But
+what these fundamental principles were it is impossible to determine.
+It is true there had always been agencies at work which must have
+familiarised Italy with French thought and ideas. From the time of the
+dominant French influence in Sicily down to the Papal exile in
+France--which ended actually while Donatello was working on these
+statues, one portion or another of the two countries had been
+frequently brought into contact. The Cistercians, for instance, had
+been among the most persistent propagators of Gothic architecture in
+Italy, though nearly all their churches (of which the ground-plans are
+sometimes identical with those of French buildings) are situated in
+remote country districts of Italy, and being inaccessible are little
+known or studied nowadays. France, however, was herself full of
+Italian teachers and churchmen, who may have brought back Northern
+ideas of art, for they certainly left small traces of their influence
+on the French until later on; their presence, at any rate, records
+intercourse between the two countries. A concrete example of the
+relation between the two national arts is afforded by the fact that
+Michelozzo was the son of a Burgundian who settled in Florence.
+Michelozzo was some years younger than Donatello, and it is therefore
+quite out of the question to assume that the St. George could have
+been due to his influence: he was too young to give Donatello more
+than technical assistance. In this connection one must remember that
+French Gothic, though manifested in its architecture, was of deeper
+application, and did not confine its spirit to the statuary made for
+the tall elongated lines of its cathedrals. What we call Gothic
+pervaded everything, and was not solely based on physical forms.
+Indeed, whatever may be the debt of Italian sculpture to French
+influence, the Gothic architecture of Italy excluded some of the chief
+principles of the French builders. It was much more liberal and more
+fond of light and air. Speaking of the exaggerated type of Gothic
+architecture, in which everything is heightened and thinned, Renan
+asks what would have happened to Giotto if he had been told to paint
+his frescoes in churches from which flat spaces had entirely
+disappeared. "Once we have exhausted the grand idea of infinity which
+springs from its unity, we realise the shortcomings of this egoistic
+and jealous architecture, which only exists for itself and its own
+ends, _régnant dans le désert_."[40] The churches of Umbria and
+Tuscany were as frames in which space was provided for all the arts;
+where fresco and sculpture could be welcomed with ample scope for
+their free and unencumbered display. Donatello was never hampered or
+crowded by the architecture of Florence; he was never obliged, like
+his predecessors in Picardy and Champagne, to accommodate the gesture
+and attitude of his statue to stereotyped positions dictated by the
+architect. His opportunity was proportionately greater, and it only
+serves to enhance our admiration for the French sculptors. In spite of
+difficulties not of their own making, they were able to create, with a
+coarser material and in a less favourable climate, what was perhaps
+the highest achievement ever attained by monumental sculpture. The
+Italians soon came to distrust Gothic architecture. It was never quite
+indigenous, and they were afraid of this "German" transalpine art.
+Vasari attacks "_Questa maledizione di fabbriche_," with their
+"_tabernacolini l'un sopra l'altro, ... che hanno ammorbato il
+mondo_."[41] One would expect the denunciation of Milizia to be still
+more severe. But he admits that "_fra tante monstruosità
+l'architettura gottica ha alcune bellezze_."[42] Elsewhere mentioning
+the architect of the Florentine Cathedral (while regretting how long
+the _corrotto gusto_ survived), he says, "_In questo architetto si
+vede qualche barlume di buona architettura, come di pittura in Cimabue
+suo contemporaneo_."[43] He detects some glimmer of good architecture.
+Sir Joshua Reynolds was cautious: "Under the rudeness of Gothic
+essays, the artist will find original, rational, and even sublime
+inventions."[44] It should be remembered that the word _Tedesca_, as
+applied to Gothic art, meant more than German, and could be almost
+translated by Northern. Italians from the lakes and the Valtellina
+were called _Tedeschi_, and Italy herself was inhabited by different
+peoples who were constantly at war, and who did not always understand
+each other's dialects. Dante said the number of variations was
+countless.[45] Alberti, who lived north of the Apennines during his
+boyhood, took lessons in Tuscan before returning to Florence. The word
+_Forestiere_, now meaning foreigner, was applied in those days to
+people living outside the province, sometimes even to those living
+outside the town. Thus we have a record of the cost of making a
+provisional altar to display Donatello's work at Padua--"_per
+demonstrar el desegno ai forestieri_."[46] No final definition of
+Gothic art, of the _maniera tedesca_ is possible. Some of its
+component parts have been enumerated: rigidity, grotesque, naturalism,
+and so forth; but the definition is incomplete, cataloguing the
+effects without analysing their cause. Whether Donatello was
+influenced by the ultimate cause or not, he certainly assimilated some
+of the effects. The most obvious example of the Gothic feeling which
+permeated this child of the Renaissance, is his naturalistic
+portrait-statues. Donatello found the form, some passing face or
+figure in the street, and rapidly impressed it with his ideal.
+Raffaelle found his ideal, and waited for the bodily form wherewith to
+clothe it. "In the absence of good judges and handsome women"--that is
+to say, models, he paused, as he said in one of his letters to
+Castiglione. One feels instinctively that with his Gothic bias
+Donatello would not have minded. He did not ask for applause, and at
+the period of St. George classical ideas had not introduced the
+professional artist's model. Life was still adequate, and the only
+model was the subject in hand. The increasing discovery of classical
+statuary and learning made the later sculptors distrust their own
+interpretation of the bodily form, which varied from the primitive
+examples. Thus they lost conviction, believing the ideal of the
+classicals to surpass the real of their own day. The result was
+Bandinelli and Montorsoli, whose world was inhabited by pompous
+fictions. They neither attained the high character of the great
+classical artists nor the single-minded purpose of Donatello. Their
+ideal was based on the unrealities of the Baroque.
+
+[Footnote 40: "Mélanges d'Histoire," p. 248.]
+
+[Footnote 41: Introduction, i. 122.]
+
+[Footnote 42: "Vita de' Architetti," 53.]
+
+[Footnote 43: _Ibid._ 151.]
+
+[Footnote 44: "Discourses," 1778, p. 237.]
+
+[Footnote 45: "Qua propter si primas et secundarias et subsecundarias
+vulgaris Ytalie variationes calculare velimus, in hoc minimo mundi
+angulo, non solum ad millenam loquele variationem venire contigerit,
+sed etiam at magis ultra."--De Vulg. Eloq. Lib., I., cap. x. § 8.]
+
+[Footnote 46: 23, iv. 1448.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ANNUNCIATION
+
+SANTA CROCE, FLORENCE]
+
+
+[Sidenote: The Crucifix and Annunciation.]
+
+Donatello loved to characterise: in one respect only did he typify.
+Where there was most character there was often least beauty. This is
+illustrated by two works in Santa Croce, the Christ on the Cross and
+the Annunciation. They differ in date, material, and conception, but
+may be considered together. As to the exact date of the former many
+opinions have been expressed. Vasari places it about 1401, Manetti
+about 1405, Schmarsow 1410, Cavalucci 1416, Bode 1431, Marcel Reymond
+1430-40. It is quite obvious that the crucifix is the product of
+rather a timid and uncertain technique, and does not show the verve
+and decision which Donatello acquired so soon. It is made of olive
+wood, and is covered by a shiny brown paint which may conceal a good
+deal of detailed carving. The work is sober and decorous, and not
+marred by any breach of good taste. It is in no sense remarkable, and
+has nothing special to connect it with Donatello. Its notoriety
+springs from a long and rather inconsequent story, which says that,
+having made his Christ in rivalry with Brunellesco, who was occupied
+on a similar work, Donatello was so much saddened at the superiority
+of the other crucifix that he exclaimed: "You make the Christ while I
+can only make a peasant: _a te è conceduto fare i Cristi, ed a me i
+contadini_".[47] Brunellesco's crucifix,[48] now hidden behind a
+portentous array of candles, is even less attractive than that in
+Santa Croce. Brunellesco was the aristocrat, the builder of haughty
+palaces for haughty men, and may have really thought his cold and
+correct idea superior to Donatello's peasant. To have thought of
+taking a contadino for his type (disappointing as it was to Donatello)
+was in itself a suggestive and far-reaching departure from the earlier
+treatment of the subject. In the fourteenth century Christ on the
+Cross had been treated with more reserve and in a less naturalistic
+fashion. The traditional idea disappeared after these two Christs,
+which are among the earliest of their kind, afterwards produced all
+over Italy in such numbers. As time went on the figure of Christ
+received more emphasis, until it became the vehicle for exhibiting
+those painful aspects of death from which no divine message of
+resurrection could be inferred. The big crucifix ascribed to
+Michelozzo shows how far exaggeration could be carried.[49] The opened
+mouth, the piteous expression, the clots of blood falling from the
+wounds, combine to make a figure which is repellent, and which lost
+all justification, from the fact that this tortured dying man shows no
+conviction of divine life to come. Donatello's bronze crucifix at
+Padua, made years afterwards, showed that he never forgot that a dying
+Christ must retain to the last the impress of power and superhuman
+origin. In the conflict of drama and beauty, Donatello allowed drama
+to gain the upper hand. But the Annunciation would suggest a different
+answer, for here we find what is clearly a sustained effort to secure
+beauty. The Annunciation is a large relief, in which the angel and the
+Virgin are placed within an elaborately carved frame, while on the
+cornice above there are six children holding garlands. Its date has
+been the subject of even more discussion than that of the
+Crucifix,[50] and the conflict of opinion has been so keen that the
+intrinsic merits of this remarkable work have been sometimes
+overlooked. The date is, of course, important for the classification
+of Donatello's work, but it is a pity when the attention of the critic
+is monopolised by minor problems. Milizia, when in doubt about the
+date of Alberti's birth, did not go too far in saying "_disgrazia
+grande per chi si trova la sua felicità nelle date_." The Annunciation
+was erected by the Cavalcanti family, and the old theory that it was
+ordered to commemorate their share in the victory over Pisa in 1406
+has been upheld by the presence on the lower frieze of a winged
+wreath, an emblem of victory. The object of the donor is conjectural:
+we know nothing about it; and the association of wings and a wreath is
+found elsewhere in Donatello's work.[51] Moreover, the rich
+Renaissance decoration is quite sufficient to demonstrate that the
+work must be much later than 1406, though whether immediately before
+or after the second Roman visit must be founded on hypothesis. The
+precise date of the particular decoration is too nebular to permit any
+exact statement on the subject. There was never any line of
+demarcation between one school and another. One can find Gothic ideas
+long after the Renaissance had established its principles,[52] while
+the period of transition lasted so long, especially in the smaller
+towns, that the old and new schools often flourished concurrently.
+This relief is made of Pietra Serena, of a delicate bluish tint, very
+charming to work in, according to Cellini, though without the
+durability needed for statues placed out of doors.[53] It has been
+enriched with a most lavish hand and there is no part of the work
+without sumptuous decoration. The base, with the central wreath, is
+flanked by the Cavalcanti arms: above them rise two rectangular shafts
+enclosing the relief on either side. These columns are carved with a
+fretwork of leaves, and their capitals are formed of strongly
+chiselled masks of a classical type, like those on the Or San Michele
+niche. Above the shafts comes the plinth, which has a peculiar egg and
+dart moulding, in its way ugly, and finally the whole thing is crowned
+with a bow-shaped arch, upon which the six terra cotta _Putti_ are
+placed, two at either extremity and the other pair lying along the
+curved space in the centre;[54] the panelled background and the throne
+are covered with arabesques. But this intricate wealth of decoration
+does not distract attention from the main figures. The Virgin has just
+risen from the chair, part of her dress still resting on the seat. Her
+face and feet turn in different directions, thus giving a dualism to
+the movement, an impression of surprise which is in itself a _tour de
+force_. But there is nothing bizarre or far-fetched, and the general
+idea one receives is that we have a momentary vision of the scene: we
+intercept the message which is well rendered by the pose of the
+angel, while its reception is acknowledged by the startled gesture of
+the Virgin. "_È stupendo l'artifizio._"[55] The scheme is what one
+would expect from Luca della Robbia. Nothing of the kind reappears in
+Donatello's work, and the attainment of beauty as such is also beyond
+the sphere of his usual ambition. Indeed, so widely does the
+Annunciation differ from our notions about the artist, that it has
+been recently suggested that Donatello was assisted in the work: while
+some people doubt the attribution altogether. The idea that Michelozzo
+should have done some of the actual carving may be well or ill
+founded; in any case, no tangible argument has been advanced to
+support the idea. Donatello's authorship is vouched for by Albertini,
+who wrote long before Vasari, and whose notice about the works of art
+in Florence is of great value.[56] But we have no standard of
+comparison, and Donatello himself had to strike out a new line for his
+new theme. The internal evidence in favour of Donatello must therefore
+be sought in the accessories; and in architectural details which occur
+elsewhere,[57] such as the big and somewhat incontinent hands, the
+typical _putti_, and the rather heavy drapery. To this we may add the
+authority of early tradition, the originality and strength of
+treatment, and finally the practical impossibility of suggesting any
+alternative sculptor.
+
+[Footnote 47: Vasari, iii. 247.]
+
+[Footnote 48: In the Capella Gondi, Santa Maria Novella.]
+
+[Footnote 49: In San Giorgio Maggiore, Venice.]
+
+[Footnote 50: Borghini, Donatello's earliest work. Semper, 1406.
+Schmarsow, 1412. Bode, before the second journey to Rome in 1433.
+Reymond, 1435.]
+
+[Footnote 51: _E.g._, on the Or San Michele niche, round the Trinity.
+Verrocchio also used it on his sketch model for the Forteguerri tomb,
+Victoria and Albert Museum, No. 7599, 1861.]
+
+[Footnote 52: _E.g._, Pacifico tomb about 1438 and the Francesco
+Foscari tomb about 1457, both in the Frari.]
+
+[Footnote 53: "Due Trattati di Benvenuto Cellini," ed. Carlo Milanesi,
+1857. Ch. 6 on marble.]
+
+[Footnote 54: _Cf._ _Putti_ on the Roman Tabernacle.]
+
+[Footnote 55: Bocchi, p. 316.]
+
+[Footnote 56: "Memoriale di molte statue e pitture della città di
+Firenze," 1510.]
+
+[Footnote 57: Or San Michele niche, San Lorenzo Evangelists.]
+
+       *       *       *       *       *
+
+[Sidenote: Martelli, David and Donatello's Technique.]
+
+Tradition says that Ruberto Martelli was the earliest of Donatello's
+patrons. So far as we know, there were two Rubertos: the elder was
+seventy-three at the time of Donatello's birth, and must therefore
+have been a nonagenarian before his patronage could be effectively
+exercised; the other was twenty-two years younger than the sculptor,
+whom he could not have helped as a young man. But there is no question
+about the interest shown by the family in Donatello's work. The David
+and the St. John, together with a portrait-bust and the coat of arms,
+still show their practical appreciation of his work and Donatello's
+gratitude to the family. Vasari is the first to mention these works,
+and it must be remarked that Albertini, who paid great attention to
+Donatello, mentions nothing but antique sculpture in the Martelli
+palace. The David and the St. John Baptist are both in marble, and
+were probably made between 1415 and 1425. The David, which was always
+prized by the family, is shown in the background of Bronzino's
+portrait of Ugolino Martelli.[58] It was then standing in the
+courtyard of the palace, but was taken indoors in 1802 _per
+intemperias_. The statue is not altogether a success. Its _allure_ is
+good: but the anatomy is feminine, the type is soft and yielding; the
+attitude is not spontaneous; and the head of Goliath, tucked
+uncomfortable between the feet, is poor. There is a bronze statuette
+in Berlin which has been considered a study for this figure, though it
+is most unlikely that Donatello himself would have taken the trouble
+to make bronze versions of his preparatory studies. The work, however,
+is in all probability by Donatello, and most of the faults in the
+marble statue being corrected, it may be later than the Martelli
+figure, from which it also varies in several particulars. The
+statuette is full of life and vigour, and the David is a sturdy
+shepherd-boy who might well engage a lion or a bear. In one respect
+the Martelli figure is of great importance. It is unfinished--the only
+unfinished marble we have of the master, and it gives an insight into
+the methods he employed. It is fortunate that we have some means of
+understanding how Donatello gained his ends, although this statue does
+not show him at his best; indeed it may have been abandoned because it
+did not reach his expectations. However, we have nothing else to judge
+by. The first criticism suggested by the David is that Donatello
+betrays the great effort it cost him. Like the unfinished Faith by
+Mino da Fiesole,[59] it is laboured and experimental. They set to work
+hoping that later stages would enable them to rectify any error or
+miscalculation, but both found they had gone too far. The material
+would permit no such thing, and with all their skill one sees that the
+blocks of marble did not unfold the statues which lay hidden within.
+As hewers of stone, Donatello and Mino cannot compare with Michael
+Angelo. Jacopo della Quercia alone had something of his genius of
+material. Nobody left more "unfinished" work than Michael Angelo. The
+Victory, the bust of Brutus, the Madonna and Child,[60] to mention a
+few out of many, show clearly what his system was. In the statue of
+Victory we see the three stages of development or completion. The
+statue is _in_ the stone, grows out of it. The marble seems to be as
+soft as soap, and Michael Angelo simply peels off successive strata,
+apparently extracting a statue without the smallest effort. The three
+grades are respectively shown in the rough-hewn head of the crouching
+figure, then in the head of the triumphant youth above him, finally in
+his completed torso. But each stage is finished relatively. Completion
+is relative to distance; the Brutus is finished or unfinished
+according to our standpoint, physical or æsthetic. Moreover, the
+treatment is not partial or piecemeal; the statue was in the marble
+from the beginning, and is an entity from its initial stage: in many
+ways each stage is equally fine. The paradox of Michael Angelo's
+technique is that his _abozzo_ is really a finished study. The Victory
+also shows how the deep folds of drapery are bored preparatory to
+being carved, in order that the chisel might meet less resistance in
+the narrow spaces; this is also the case in the Martelli David. As a
+technical adjunct boring was very useful, but only as a process. When
+employed as a mechanical device to represent the hair of the head, we
+get the Roman Empress disguised as a sponge or a honeycomb. These
+tricks reveal much more than pure technicalities of art.
+Gainsborough's habit of using paint brushes four or five feet long
+throws a flood of light upon theory and practice alike. There is,
+however, another work, possibly by Donatello himself, which gives no
+insight into anything but technical methods, but which is none the
+less important. This is the large Madonna and Child surrounded by
+angels, belonging to Signor Bardini of Florence. It is unhappily a
+complete wreck, five heads, including the Child's, having been broken
+away. It is a relief in stucco, modelled, not cast, and is closely
+allied with a group of Madonnas to which reference is made
+hereafter.[61] We can see precisely how this relief was made. The
+stucco adheres to a strong canvas, which in its turn is nailed on to a
+wooden panel. The background, also much injured, is decorated with
+mosaic and geometrical patterns of glass, now dim and opaque with age.
+The relief must have been of signal merit. Complete it would have
+rivalled the polychrome Madonna of the Louvre: as a fragment it is
+quite sufficient to prove that the Piot Madonna, in the same museum,
+is not authentic. One more trick of the sculptor remains to be
+noticed. Vasari and Bocchi say that Donatello, recognising the value
+of his work, grouped his figures so that the limbs and drapery should
+offer few protruding angles, in order to minimise the danger of
+fracture. It was his insurance against the fragility of the stone:
+when working in bronze such precautions would be less necessary. It is
+quite true that in the larger figures there is a marked restraint in
+this respect, while in his bas-reliefs, where the danger was less, the
+tendency to raise the arms above the head is often exaggerated. But
+too much stress should not be laid upon this explanation: it is hard
+to believe that Donatello would have let so crucial a matter be
+governed by such a consideration. Speaking generally, Donatello was
+neither more nor less restrictive than his Florentine contemporaries,
+and it was only at a later period that the isolated statue received
+perfect freedom, such as that in the Cellini Perseus, or the Mercury
+by Gian Bologna, or Bernini's work in marble.
+
+[Footnote 58: In the Berlin Gallery.]
+
+[Footnote 59: Berlin Museum.]
+
+[Footnote 60: All three in Bargello.]
+
+[Footnote 61: See p. 185.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SAN GIOVANNINO
+
+PALAZZO MARTELLI, FLORENCE]
+
+
+[Illustration: _Alinari_
+
+ST. JOHN BAPTIST, MARBLE
+
+BARGELLO]
+
+
+[Sidenote: Early Figures of St. John.]
+
+Another important statue in the Martelli palace is that of St. John
+the Baptist. Besides being the earliest patron of Florence, St. John
+was the titular saint of every Baptistery in the land. This accounts
+for the frequency with which we find his statues and scenes from his
+life, particularly in Tuscany. With Donatello he was to some extent a
+speciality, and we can almost trace the sculptor's evolution in his
+presentment of the Baptist, beginning with the chivalrous figure on
+the Campanile and ending with the haggard ascetic of Venice. We have
+St. John as a child in the Bargello, as a boy in Rome, as a stripling
+in the Martelli palace. On the bell-tower he is grown up, in the Frari
+he is growing older, and at Siena he is shown as old as Biblical
+history would permit. The St. John in the Casa Martelli, _oltra tutti
+singolare_,[62] was so highly prized that it was made an heirloom,
+with penalties for such members of the family who disposed of it. This
+St. John is a link between the Giovannino and the mature prophet. He
+is, as it were, dazed, and sets forth upon his errand with
+open-mouthed wonder. He has a strain of melancholy, and seems rather
+weakly and hesitating. But there is no attempt after emaciation. The
+limbs are well made, and as sturdy as one would expect, in view of the
+unformed lines of the model: the hands also are good. As regards the
+face, one notices that the nose and mouth are rather crooked, and that
+the eyes diverge: not, indeed, that these defects are really
+displeasing, since they are what one sometimes finds in living youth.
+Another Baptist which has hitherto escaped attention is the small
+marble figure, about four feet high, which stands in a niche over the
+sacristy door of San Giovanni Fiorentino in Rome. It was placed there
+a few years ago, when, owing to the prevalent mania of rebuilding, it
+became necessary to demolish the little oratory on the Corso which
+belonged to the Mother Church close by. The statue was scarcely seen
+in its old home: how it got there is unknown. The church itself was
+not founded by the Florentines until after Donatello's death, and this
+statue looks as if it had been made before Donatello's visit to Rome
+in 1433. But its authenticity cannot be questioned. We have the same
+type as in the Martelli Baptist, with something of the Franco-Gothic
+sentiment. This St. John is rather younger, a Giovannino, his thin
+lithe figure draped with the camel-hair tunic which ends above the
+knees. Hanging over the left shoulder is a long piece of drapery,
+falling to the ground behind him, and giving support to the marble,
+just as in the other Baptist. We have the open mouth, the curly hair
+and the broad nostrils: in every way it is a typical work of the
+sculptor. There are two other early Baptists, both in the Bargello.
+The little relief in Pietra Serena[63] is a delightful rendering of
+gentle boyhood. The modelling shows Donatello's masterful treatment of
+the soft flesh and the tender muscles beneath it. Everything is
+subordinated to his object of showing real boyhood with all the charm
+of its imperfections. The head is shown in profile, thus enabling us
+to judge the precise nature of all the features, each one of which
+bears the imprint of callow _morbidezza_. Even the hair has the
+dainty qualities of childhood: it has the texture of silk. It is a
+striking contrast to the life-sized Baptist who has just reached
+manhood. We see a St. John walking out into the desert. He looks
+downward to the scroll in his hand, trudging forward with a hesitating
+gait,--but only hesitating because he is not sure of his foothold, so
+deeply is he absorbed in reading. It is a triumph of concentration.
+Donatello has enlisted every agency that could intensify the oblivion
+of the world around him. It is from this aloofness that the figure
+leaves a detached and inhospitable impression. One feels instinctively
+that this St. John would be friendless, for he has nothing to offer,
+and asks no sympathy. There is no room for anybody else in his career,
+and nobody can share his labours or mitigate his privations. In short,
+there is no link between him and the spectator. Unless we interpret
+the statue in this manner, it loses all interest--it never had any
+beauty--and the St. John becomes a tiresome person with a pedantic and
+ill-balanced mind. But Donatello can only have meant to teach the
+lesson of concentrated unity of purpose, which is the chief if not the
+only characteristic of this St. John. Technically the work is
+admirable. The singular care with which the limbs are modelled,
+especially the feet and hands, is noteworthy: while the muscular
+system, the prominent spinal cord, and the pectoral bones are rendered
+with an exactitude which leads one to suppose Donatello reproduced all
+the peculiarities of his model. It has been said that Michelozzo
+helped Donatello on the ground that certain details reappear on the
+Aragazzi monument. The argument is speculative, and would perhaps gain
+by being inverted,--by pointing out that when making the Aragazzi
+figures, Michelozzo, the lesser man, was influenced by Donatello, the
+greater.
+
+[Footnote 62: Bocchi, 23. Like the David, it used to live out of
+doors, until in 1755 Nicolaus Martelli "in aedes suas transtulit." Its
+base dates from 1794.]
+
+[Footnote 63: It was acquired for nine zechins in 1784. Madame André
+has a version in stucco, on rather a larger scale. A marble version
+from the Strawberry Hill Collection now belongs to Sir Charles Dilke,
+M.P.]
+
+       *       *       *       *       *
+
+[Illustration: CLAY SKETCH OF CRUCIFIXION AND FLAGELLATION
+
+LONDON]
+
+
+[Sidenote: Donatello as Architect and Painter.]
+
+Fully as Donatello realised the unity of the arts, we cannot claim him
+as a universal genius, like Leonardo or Michael Angelo, who combined
+the art of literature with plastic, pictorial and architectural
+distinction. But at the same time Donatello did not confine himself to
+sculpture. He was a member of the Guild of St. Luke: he designed a
+stained-glass window for the Cathedral: his opinion on building the
+Cupola was constantly invited, and he made a number of marble works,
+such as niches, fountains, galleries and tombs, into which the pursuit
+of architecture and construction was bound to enter. Moreover, his
+backgrounds were usually suggested by architectural motives. Donatello
+joined the painters' guild of St. Luke in 1412, and in a document of
+this year he is called _Pictor_.[64] There is a great variety in the
+names and qualifications given to artists during the fifteenth
+century. In the first edition of the Lives, Vasari calls Ghiberti a
+painter. Pisano, the medallist, signed himself Pictor. _Lastrajuolo_,
+or stone-fitter, is applied to Nanni di Banco.[65] Giovanni Nani was
+called _Tagliapietra_,[66] Donatello is also called _Marmoraio_,
+_picchiapietre_,[67] and woodcarver.[68] In the commission from the
+Orvieto Cathedral for a bronze Baptist he is comprehensively described
+as "_intagliatorem figurarum, magistrum lapidum atque intagliatorem
+figurarum in ligno et eximium magistrum omnium trajectorum_."[69]
+Finally, like Ciuffagni,[70] he is called _aurifex_, goldsmith.[71]
+Cellini mentions Donatello's success in painting,[72] and Gauricus,
+who wrote early in the sixteenth century, says that the favourite
+maxim inculcated by Donatello to his pupils was "_designate_"--"Draw:
+that is the whole foundation of sculpture."[73] The only pictorial
+work that has survived is the great stained-glass Coronation of the
+Virgin in the Duomo. Ghiberti submitted a competitive cartoon and the
+Domopera had to settle which was "_pulchrius et honorabilius pro
+ecclesia_." Donatello's design was accepted,[74] and the actual
+glazing was carried out by Bernardo Francesco in eighteen months.[75]
+The background is a plain blue sky, and the two great figures are the
+centre of a warm and harmonious composition. The window stands well
+among its fellows as regards colour and design, but does not help us
+to solve difficult problems connected with Donatello's drawings.
+Numbers have been attributed to him on insufficient foundation.[76]
+The fact is that, notwithstanding the explicit statements of Borghini
+and Vasari that Donatello and Michael Angelo were comparable in
+draughtsmanship, we have no authenticated work through which to make
+our inductions. A large and important scene of the Flagellation in the
+Uffizzi,[77] placed within a complicated architectural framework, and
+painted in green wash, has some later Renaissance features, but
+recalls Donatello's compositions. In the same collection are two
+extremely curious pen-and-ink drawings which give variants of
+Donatello's tomb of John XXIII. in the Baptistery. The first of them
+(No. 660) shows the Pope in his tiara, whereas on the tomb this symbol
+of the Papacy occupies a subordinate place. The Charity below carries
+children, another variant from the tomb itself. The second study (No.
+661) gives the effigy of a bareheaded knight in full armour lying to
+the left, and the basal figures also differ from those on the actual
+tomb. These drawings are certainly of the fifteenth century, and even
+if not directly traceable to Donatello himself, are important from
+their relation to the great tomb of the Pope, for which Donatello was
+responsible. But we have no right to say that even these are
+Donatello's own work. In fact, drawings on paper by Donatello would
+seem inherently improbable. Although he almost drew in marble when
+working in _stiacciato_, the lowest kind of relief, he was essentially
+a modeller, rather than a draughtsman. Leonardo was just the reverse;
+Michael Angelo was both, but with him sculpture was _the_ art.
+Donatello had small sense of surface or silhouette, and we would not
+expect him to commit his ideas to paper, just as Nollekens,[78] who
+drew so badly that he finally gave up drawing, and limited himself to
+modelling instead--turning the clay round and round and observing it
+from different aspects, thus employing a tactile in place of a
+pictorial medium. Canova also trusted chiefly to the plastic sense to
+create the form. But Donatello must nevertheless have used pen and ink
+to sketch the tombs, the galleries, the Roman tabernacle, and similar
+works. It is unfortunate that none of his studies can be identified.
+There is, however, one genuine sketch by Donatello, but it is a sketch
+in clay. The London Panel[79] was made late in life, when Donatello
+left a considerable share to his assistants. It is therefore a
+valuable document, showing Donatello's system as regards his own
+preliminary studies and the amount of finishing he would leave to
+pupils. We see his astonishing plastic facility, and the ease with
+which he could improvise by a few curves, depressions and prominences
+so complex a theme as the Flagellation, or Christ on the Cross. It
+is a marvel of dexterity.
+
+[Footnote 64: Domopera archives, 12, viii., 1412.]
+
+[Footnote 65: _Ibid._, 31, xii., 1407.]
+
+[Footnote 66: Padua, 3, iv., 1443.]
+
+[Footnote 67: When working at Pisa in 1427. See Centofanti, p. 4.]
+
+[Footnote 68: Commission for bronze Baptist for Ancona, 1422.]
+
+[Footnote 69: Contract in Orvieto archives, 10, ii., 1423.]
+
+[Footnote 70: Domopera, 2, ix., 1429.]
+
+[Footnote 71: _Ibid._ 18, iii., 1426.]
+
+[Footnote 72: "Due Trattati," ch. xii.]
+
+[Footnote 73: Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.]
+
+[Footnote 74: April 1434.]
+
+[Footnote 75: See _American Journal of Arch._, June 1900.]
+
+[Footnote 76: The so-called St. George in the Royal Library at Windsor
+has been determined by Mr. R. Holmes to be Perugino's study for the
+St. Michael in the National Gallery triptych. In the Uffizzi several
+pen-and-ink drawings are attributed to Donatello. The four eagles, the
+group of three peasants, the two figures seen from behind (Frame 5,
+No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript
+studies in which no specific sign of Donatello appears. The five
+winged _Putti_ (Frame 7, No. 40 f.) and the two studies of the Madonna
+(Frame 7, No. 38 f.) are more Donatellesque, but they show the
+niggling touch of some draughtsman who tried to make a sketch by mere
+indications with his pen. There is also a study in brown wash of the
+Baptistery Magdalen: probably made from, and not for, the statue. The
+Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle
+Collections) of the three Maries at the Tomb, or perhaps a fragment of
+a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt
+composition, made with very strong lines. It may be noted that the
+eyes are roughly suggested by circles, a mannerism which recurs in
+several drawings ascribed to Donatello. This was also a trick of
+Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.). In the
+British Museum there is an Apostle holding a book (No. 1860, 6. 13.
+31), with a Donatellesque hand and forearm; also a Lamentation over
+the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings,
+but the positive evidence of Donatello's authorship is _nil_. Mr.
+Gathorne Hardy's drawing, which has been ascribed to Donatello, is
+really by Mantegna, a capital study for one of the frescoes in the
+Eremitani.]
+
+[Footnote 77: Uffizzi, Frame 6, No. 6347 f.]
+
+[Footnote 78: See Life by J.T. Smith, 1828.]
+
+[Footnote 79: Victoria and Albert Museum, No. 7619, 1861. This sketch,
+which appears to have been made for the Forzori family, has been
+mistaken for a study for the San Lorenzo pulpit.]
+
+[Illustration: _Alinari_
+
+NICHE OF OR SAN MICHELE
+
+THE GROUP BY VERROCCHIO]
+
+Sculpture relies upon the contour, architecture upon the line. The
+distinction is vital, and were it not for the number and importance of
+the exceptions, from Michael Angelo down to Alfred Stevens, one would
+think that the sculptor-architect would be an anomaly. In describing
+the pursuits of Donatello and Brunellesco during their first visit to
+Rome, Manetti says that the former was engrossed by his plastic
+researches, "_senza mai aprire gli occhi alla architettura_." It is
+difficult to believe that Donatello had no eyes for architecture.
+There are several reasons to show that later on he gave some attention
+to its study. Like the Roman Tabernacle, the Niche on Or San
+Michele[80] is without any Gothic details. Albertini mentions
+Donatello as its sole author, but it is probable that Michelozzo, who
+helped on the statue of St. Louis, was also associated with its niche.
+It is a notable work, designed without much regard to harmony between
+various orders of architecture, but making a very rich and pleasing
+whole. It is decorated with some admirable reliefs. On the base are
+winged _putti_ carrying a wreath; in the spandrils above the arch are
+two more. The upper frieze has also winged cherubs' heads, six of them
+with swags of fruit and foliage, all of exceptional charm and
+vivacity. The motive of wings recurs in the large triangular space at
+the top; flanking the magnificent Trinity, three grave and majestic
+heads, which though united are kept distinct, and though similar in
+type are full of individual character. This little relief, placed
+rather high, and discountenanced by the bronze group below, is a
+memorable achievement of the early fifteenth century and heralds the
+advent of the power and solemnity, the _Terribilità_ of Michael
+Angelo. Donatello's aptitude for architectural setting is also
+illustrated by the choristers' galleries in the Cathedral and San
+Lorenzo. The former must be dealt with in detail when considering
+Donatello's treatment of childhood. As an architectural work it shows
+how the sculptor employed decorative adjuncts such as mosaic and
+majolica[81] to set off the white marble; he also added deep maroon
+slabs of porphyry and bronze heads, thus combining various arts and
+materials. Having no sculpture, the Cantoria of San Lorenzo is perhaps
+more important in this connection, as it is purely constructive, while
+its condition is intact: the Cathedral gallery having been rebuilt on
+rather conjectural lines. In San Lorenzo we find the same ideas and
+peculiarities, such as the odd egg and dart moulding which reappears
+on the Annunciation. The colour effects are obtained by porphyry and
+inlaid marbles. But we see how much Donatello trusted to sculpture,
+and how indifferently he fared without it. This gallery does not
+retain one's attention. There is a stiffness about it, almost a
+monotony, and it looks more like the fragment of a balcony than a
+_Cantoria_, for there is no marked terminal motive to complete and
+enclose it at either end. Two gateways have been ascribed to
+Donatello, but there is nothing either in their architecture or the
+treatment of their heraldic decoration, which is distinctive of the
+sculptor.[82] There can be no doubt that Donatello was employed as
+architect by the Chapter of Sant' Antonio at Padua,[83] and his love
+of buildings is constantly shown in the background of his reliefs. But
+the strongest testimony to his architectural skill is derived from the
+fact that he was commissioned in 1416 to make a model for the then
+unfinished cupola of the Cathedral at Florence. Brunellesco and Nanni
+di Banco also received similar orders. Brunellesco alone understood
+the immense difficulty of the task, and in the next year he announced
+his return to Rome for further research. In 1418 the sum of two
+hundred gold florins was offered for the best model, and in 1419
+Ghiberti, Nanni di Banco, Donatello and Brunellesco all received
+payments for models. Donatello's was made of brick. Ultimately the
+work was entrusted to Brunellesco, who overcame the ignorance and
+intrigues which he encountered from all sides, his two staunch friends
+being Donatello and Luca della Robbia. As to the nature of Donatello's
+models we know nothing; it is, however, clear that his opinion was at
+one time considered among the best available on a problem which
+required knowledge of engineering. As a military engineer Donatello
+was a failure. He was sent in 1429 with other artists to construct a
+huge dam outside the besieged town of Lucca, in order to flood or
+isolate the city. The amateur and _dilettante_ of the Renaissance
+found a rare opportunity in warfare; and this passion for war and its
+preparations occurs frequently among these early artists. Leonardo
+designed scores of military engines. Francesco di Giorgio has left a
+whole bookful of such sketches, in one of which he anticipates the
+torpedo-boat.[84] So, too, Michael Angelo took his share in erecting
+fortifications, though he did not fritter away so much time on
+experiments as some of his contemporaries. Donatello and his
+colleagues did not even leave us plans to compensate for their
+ignominious failure. One is struck by the confidence of these
+Renaissance people, not only in art but in every walk of life. They
+were so sure of success, that failure came to be regarded as
+surprising, and very unprofessional. Michael Angelo had no conception
+of possible failure. He embarked upon the colossal statue of the Pope
+when quite inexperienced in casting; he was the first to taunt
+Leonardo on his failure to make the equestrian statue. When somebody
+failed, the work was handed over to another man, who was expected to
+succeed. Thus Ciuffagni had to abandon an unpromising statue, _quod
+male et inepte ipsam laboravit_,[85] and the David of Michael Angelo
+was made from a block of marble upon which Agostino di Duccio had
+already made fruitless attempts.
+
+[Footnote 80: The niche was completed about 1424-5. There is a drawing
+of it in Vettorio Ghiberti's Note-book, p. 70. Landucci, in his
+"Diario Fiorentino," says that Verrocchio's group was placed in it on
+June 21, 1483.]
+
+[Footnote 81: _Cf._ Payments to Andrea Moscatello, for painted and
+glazed terra-cotta for the Paduan altar. May 1449.]
+
+[Footnote 82: From the Residenza dell' arte degli Albergatori, and
+that of the Rigattieri of Florence, figured on plates xii. and xv. of
+Carocci's "Ricordi del Mercato Vecchio," 1887.]
+
+[Footnote 83: _Cf._ Payments for work on "_Archi de la balconà de lo
+lavoriero de la +_," _i.e._, the crociera of the church, March 30 and
+April 11, 1444.]
+
+[Footnote 84: Siena Library.]
+
+[Footnote 85: Domopera, 7, vii. 1433.]
+
+[Illustration: _Alinari_
+
+THE MARZOCCO
+
+BARGELLO]
+
+
+[Illustration: _Alinari_
+
+THE MARTELLI SHIELD]
+
+Two fountains are ascribed to Donatello, made respectively for the
+Pazzi and Medici families. The former now belongs to Signor Bardini.
+It is a fine bold thing, but the figure and centrepiece are
+unfortunately missing. The marble is coated with the delicate patina
+of water: its decoration is rather nondescript, but there is no reason
+to suppose that Rossellino's _fonte_ mentioned by Albertini was the
+only one possessed by the Great House of the Pazzi. The Medici
+fountain, now in the Pitti Palace, is rather larger, being nearly
+eight feet high. The decoration is opulent, and one could not date
+these florid ideas before Donatello's later years. The boy at the top
+dragging along a swan is Donatellesque, but with mannerisms to which
+we are unaccustomed. The work is not convincing as regards his
+authorship. The marble Lavabo in the sacristy of San Lorenzo is also a
+doubtful piece of sculpture. It has been attributed to Verrocchio,
+Donatello and Rossellino. It has least affinity to Donatello. The
+detailed attention paid by the sculptor to the floral decoration, and
+the fussy manner in which the whole thing is overcrowded, as if the
+artist were afraid of simplicity, suggest the hand of Rossellino, to
+whom Albertini, the first writer on the subject, has ascribed it.
+Donatello made the Marzocco, the emblematic Lion of the Florentines,
+and it has therefore been assumed that he also made its marble
+pedestal. This is held to be contemporary with the niche of Or San
+Michele. So far as the architectural and decorative lines are
+concerned this is not impossible, though the early Renaissance motives
+long retained their popularity. There is, however, one detail showing
+that the base must be at least twenty-five years older than the niche.
+The arms of the various quarters of Florence are carved upon the
+frieze of the base. Among these shields we notice one bearing "on a
+field semée of fleurs-de-lys, a label, above all a bendlet dexter."
+These are not Italian arms. They were granted in 1452 to Jean, Comte
+de Dunois, an illegitimate son of the Duc d'Orléans. His coat had
+previously borne the bendlet sinister, but this was officially turned
+into a bendlet dexter, to show that the King had been pleased to
+legitimise him in recognition of his services to Joan of Arc. Jean was
+a contemporary of Donatello, and the coat may have been placed among
+the other shields as a compliment to France. Certainly no quarter of a
+town could use a mark of cadency below a bendlet, and Florence was
+more careful than most Italian towns to be precise in her heraldry.
+Numbers of stone shields bearing the arms of Florentine families were
+placed upon the palace walls. When high up and protected by the broad
+eaves they have survived; but, as a rule, those which were exposed to
+the weather, carved as they usually were in soft stone, have
+perished.[86] Bocchi mentions that Donatello made coats-of-arms for
+the Becchi, the Boni and the Pazzi. Others have been ascribed to him,
+namely, the Stemma of the Arte della Seta, from the Via di Capaccio,
+that on the Gianfigliazzi Palace, the shield inside the courtyard of
+the Palazzo Davanzati, and that on the Palazzo Quaratesi, all in
+Florence. These have been much repaired, and in some cases almost
+entirely renewed. The shield on the eastern side of the old Martelli
+Palace (in the Via de' Martelli, No. 9) is, perhaps, coeval with
+Donatello, but it is insignificant beside the shield preserved inside
+the present palace. This coat-of-arms, which is coloured according to
+the correct metals and tinctures, is one of the finest extant
+specimens of decorative heraldry. It is a winged griffin rampant, with
+the tail and hindlegs of a lion. The shield is supported by the stone
+figure of a retainer, cut in very deep relief, as the achievement was
+to be seen from the street below. But the shield itself rivets one's
+attention. This griffin can be classed with the Stryge, or the
+Etruscan Chimæra as a classic example of the fantastic monsters which
+were used for conventional purposes, but which were widely believed to
+exist. It possesses all the traditional attributes of the griffin. It
+is fearless and heartless: its horrible claws strike out to wound in
+every direction, and the whole body vibrates with feline elasticity,
+as well as the agile movement of a bird. Regarding it purely as a
+composition, we see how admirably Donatello used the space at his
+command: his economy of the shield is masterly. It is occupied at
+every angle, but nowhere crowded. The spaces which are left vacant are
+deliberately contrived to enhance the effect of the figure. It is the
+antithesis of the Marzocco.[87] The sculptor must have seen lions, but
+the Marzocco is not treated in a heraldic spirit, although it holds
+the heraldic emblem of Florence, the _fleur de lys florencée_.
+Physically it is unsuccessful, for it has no spring, there is very
+little muscle in the thick legs which look like pillars, and the back
+is far too broad. But Donatello is saved by his tact; he was
+ostensibly making the portrait of a lion; though he gives none of its
+features, he gives us all the chief leonine characteristics. He
+excelled in imaginary animals, like the Chinese artists who make
+admirable dragons, but indifferent tigers.
+
+[Footnote 86: _Cf._ those high up on the Loggia de' Lanzi, or in other
+Tuscan towns where the climate was not more severe, but where there
+was less cash or inclination to replace the shields which were worn
+away.]
+
+[Footnote 87: The marble original is now in the Bargello, and has been
+replaced by a bronze _replica_, which occupies the old site on the
+Ringhiera of the Palazzo Pubblico. Lions were popular in Florence.
+Albertini mentions an antique porphyry lion in the Casa Capponi, much
+admired by Lorenzo de' Medici. Paolo Ucello painted a lion fight for
+Cosimo. The curious rhymed chronicle of 1459 describes the lion fights
+in the great Piazza ("Rer. It. Script.," ii. 722). Other cases could
+be quoted. Donatello also made a stone lion for the courtyard of the
+house used by Martin V. during his visit to Florence in 1419-20.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SALOME RELIEF, SIENA.
+
+STATUETTE OF FAITH (TO LEFT)]
+
+
+[Sidenote: The Siena Font.]
+
+Siena had planned her Cathedral on so ambitious a scale, that had not
+the plague reduced her to penury the Duomo of Florence would have been
+completely outrivalled. The Sienese, however, ordered various works of
+importance for their Cathedral, and among these the Font takes a high
+place. It was entrusted to Jacopo della Quercia, who had the active
+assistance of Donatello and Ghiberti, as well as that of the Turini
+and Neroccio, townsmen of his own. Donatello was thus brought under
+new influences. He made a relief, a _sportello_ or little door, two
+statuettes, and some children, all in bronze, being helped in the
+casting by Michelozzo. Jacopo, who was about ten years older than
+Donatello, had been a competitor for the Baptistery gates. He was a
+man of immense power, in some ways greater than Donatello; never
+failing to treat his work on broad and massive lines, and one of the
+few sculptors whose work can survive mutilation. The fragments of the
+Fonte Gaya need no reconstruction or repair to tell their meaning;
+their statuesque virtues, though sadly mangled, proclaim the
+unmistakable touch of genius. But Donatello's personality was not
+affected by the Sienese artists. Jacopo, it is true, was constantly
+absent, being busily engaged at Bologna, to the acute annoyance of the
+Sienese, who ordered him to return forthwith. Jacopo said he would die
+rather than disobey, "_potius eligeret mori quam non obedire patriæ
+suæ_"; but the political troubles at the northern town prevented his
+prompt return. However, after being fined he got home, was reconciled
+to the Chapter, and ultimately received high honours from the city.
+His font is an interesting example of transition; the base is much
+more Gothic than the upper part. The base or font proper is a large
+hexagonal bason decorated with six bronze reliefs and a bronze
+statuette between each--Faith, Hope, Charity, Justice, Prudence, and
+Strength. The reliefs are scenes from the life of the Baptist. From
+the centre of the font rises the tall Renaissance tabernacle with five
+niches, in which Jacopo placed marble statues of David and the four
+major prophets, one of which suggested the San Petronio of Michael
+Angelo. A statue of the Baptist surmounts the entire font. In spite of
+the number of people who co-operated with Jacopo, the whole
+composition is harmonious. Donatello made the gilded statuettes of
+Faith and Hope. The former, looking downwards, has something of
+Sienese severity. Hope is with upturned countenance, joining her hands
+in prayer; charming alike in her gesture and pose. Two instalments for
+these figures are recorded in 1428. The authorities had been lax in
+paying for the work, and we have a letter[88] asking the Domopera for
+payment, Donatello and Michelozzo being rather surprised--"_assai
+maravigliati_"--that the florins had not arrived. The last of these
+bronze Virtues, by Goro di Neroccio, was not placed on the font till
+1431. Donatello also had the commission for the _sportello_, the
+bronze door of the tabernacle. But the authorities were dissatisfied
+with the work and returned it to the sculptor, though indemnifying him
+for the loss.[89] This was in 1434, the children for the upper cornice
+having been made from 1428 onwards. The relief, which was ordered in
+1421, was finished some time in 1427. It is Donatello's first relief
+in bronze, and his earliest definitive effort to use a complicated
+architectural background. The incident is the head of St. John being
+presented on the charger by the kneeling executioner. Herod starts
+back dismayed at the sight, suddenly realising the purport of his
+action. Two children playing beside him hurriedly get up; one sees
+that in a moment they, too, will be terror-stricken. Salome watches
+the scene; it is very simple and very dramatic. The bas-relief of St.
+George releasing Princess Sabra, the Cleodolinda of Spencer's Faerie
+Queen, is treated as an epic, the works having a connecting bond in
+the figures of the girls, who closely resemble each other. Much as one
+admires the _élan_ of St. George slaying the dragon, this bronze
+relief of Siena is the finer of the two; it is more perfect in its
+way, and Donatello shows more apt appreciation of the spaces at his
+disposal. The Siena plaque, like the marble relief of the dance of
+Salome at Lille, to which it is analogous, has a series of arches
+vanishing into perspective. They are not fortuitous buildings, but are
+used by the sculptor to subdivide and multiply the incidents. They
+give depth to the scene, adding a sense of the beyond. The Lille
+relief has a wonderful background, full of hidden things, reminding
+one of the mysterious etchings of Piranesi.
+
+[Footnote 88: 9. v. 1427. Milanesi, ii. 134.]
+
+[Footnote 89: Lusini, 28.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB OF COSCIA, POPE JOHN XXIII.
+
+BAPTISTERY, FLORENCE]
+
+
+[Illustration: _Alinari_
+
+EFFIGY OF POPE JOHN XXIII.
+
+BAPTISTERY, FLORENCE]
+
+
+[Sidenote: Michelozzo and the Coscia Tomb.]
+
+For ten years Donatello was associated with Michelozzo,[90] who began
+as assistant and finally entered into a partnership which lasted until
+1433. The whole subject is obscure, and until we have a critical
+biography of Michelozzo his relation with various men and monuments of
+the fifteenth century must remain problematical. Michelozzo has not
+hitherto received his due meed of appreciation. As a sculptor and
+architect he frequently held a subordinate position, and it has
+been assumed that he therefore lacked independence and originality.
+But the man who was Court architect of the Medici, and director of the
+Cathedral building staff, was no mere hack; while his sculpture at
+Milan, Naples, and Montepulciano show that his plastic abilities were
+far from mean. He was a great man with interludes of smallness. When
+Donatello required technical help in casting, Michelozzo was called
+in. Though Donatello had worked for Ghiberti on the bronze gates, he
+was never quite at home in the science of casting. Gauricus says he
+always employed professional help--"_nunquam fudit ipse, campanariorum
+usus opera semper_."[91] Caldieri cast for him at Padua. Michelozzo
+also helped Luca della Robbia in casting the Sacristy gates which
+Donatello should have made; the commissions which Donatello threw over
+were those for work in bronze. The partnership extended over some of
+the best years of Donatello's life, and three tombs, the St. Louis,
+and the Prato pulpit are among their joint products. The tombs of Pope
+John XXIII. in the Baptistery, that of Aragazzi the Papal Secretary at
+Montepulciano, and that of Cardinal Brancacci at Naples, are
+noteworthy landmarks in the evolution of sepulchral monuments, which
+attained their highest perfection in Italy. In discussing them it will
+be seen how fully Michelozzo shared the responsibilities of Donatello.
+Baldassare Coscia, on his election to the Papacy, took the title of
+John XXIII. He was deposed by a council and retired to Florence, where
+he died in 1418. He was befriended by the Medici, who erected the
+monument, the last papal tomb outside Rome, to his memory. "_Johannes
+Quondam Papa XXIII._" is inscribed on it, and it is said that Coscia's
+successful rival objected to this appellation of his predecessor, but
+the protest went unheeded. The tomb is remarkable in many ways. Its
+construction is most skilful, as it was governed by the two upright
+pillars between which the monument had to be fitted. We have a series
+of horizontal lines; a frieze at the base, then three Virtues; above
+this the effigy, and finally a Madonna beneath a baldachino. Each tier
+is separated by lines which intersect the columns at right angles. The
+task of making a monument which would not be dwarfed by these huge
+plain pillars was not easy. But the tomb, which is decorated with
+prudent reserve, holds its own. The effigy is bronze: all the rest is
+marble. It was probably coloured, and a drawing in Ghiberti's
+note-book gives a background of cherry red, with the figures
+gilded.[92] Coscia lies in his mitre and episcopal robes, his head
+turned outwards towards the spectator. The features are admirably
+modelled with the firmness and consistency of living flesh: indeed it
+is the portrait of a sleeping man, troubled, perhaps, in his dream.
+The tomb was made some years after Coscia's death, and Donatello has
+not treated him as a dead man. The effigy is a contrast to that of
+Cardinal Brancacci, where we have the unmistakable lineaments and
+fallen features of a corpse. The dusky hue of Coscia's face should be
+noticed; the bronze appears to have been rubbed with some kind of dark
+composition, similar in tone to that employed by Torrigiano. Below the
+recumbent Pope is the sarcophagus; two delightful winged boys hold
+the cartel on which the epitaph is boldly engraved. The three marble
+figures in niches at the base, Faith, Hope and Charity, belong to a
+different category. Albertini says that the bronze is by Donatello,
+and "_li ornamenti marmorei di suoi discipuli_." Half a century later,
+Vasari says that Donatello made two of them, and that Michelozzo made
+the Faith, which is the least successful of the three. Modern
+criticism tends to revert to Albertini, assigning all to Michelozzo,
+with the presumption that Hope, which is derived from the Siena
+statuette, was executed from Donatello's design. Certainly the basal
+figures are without the _brio_ of Donatello's chisel; likewise the
+Madonna above the effigy, which is vacillating, and may have been the
+earliest work of Pagno di Lapo, a man about whom we have slender
+authenticated knowledge, but whom we know to have been well employed
+in and around Florence. In any case, we cannot reconcile this Madonna
+with Michelozzo's sculpture. As will be seen later on, Michelozzo had
+many faults, but he was seldom insipid. The Madonna and Saints on the
+façade of Sant' Agostino at Montepulciano show that Michelozzo was a
+vigorous man. This latter work is certainly by him, the local
+tradition connecting it with one Pasquino da Montepulciano being
+unfounded. The Coscia tomb is among the earliest of that composite
+type which soon pervaded Italy. At least one other monument was
+directly copied from it, that of Raffaello Fulgosio at Padua. This was
+made by Giovanni da Pisa, and the sculptor's conflict between respect
+for the old model, and his desires after the new ideas, is apparent in
+the whole composition.
+
+[Footnote 90: See "Arch. Storico dell' Arte," 1893, p. 209.]
+
+[Footnote 91: "De Sculptura," 1504, folio e. 1. On the other hand, the
+sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and
+artillery for the Venetian Republic.]
+
+[Footnote 92: _Op. cit._ p. 70. In this drawing two _putti_ are also
+shown holding a shield, above the monument; this has now
+disappeared.]
+
+       *       *       *       *       *
+
+[Sidenote: The Aragazzi Tomb.]
+
+In the _Denunzia de' beni_ of 1427 Donatello states that he was
+working with Michelozzo on the tomb of Bartolommeo Aragazzi, and the
+monument has therefore been ascribed to them both. But recent research
+has established that, though preparatory orders were given in that
+year, a fresh contract was made two years later, and that Donatello's
+share in the work was nil. Michelozzo alone got payment up to 1436 or
+thereabouts, when the tomb was completed. Donatello's influence would,
+perhaps, have been visible in the design, but unhappily we can no
+longer even judge of this, for the tomb is a wreck, having been broken
+up to make room for structural alterations.[93] Important fragments
+are preserved, scattered about the church; but the sketch of the tomb,
+said to be preserved in the local library, has never yet been
+discovered. The monument had ill-fortune from the very beginning. An
+amusing letter has come down to us, pathetic too, for it records the
+first incident in the tragedy. Leonardo Aretino writes to Poggio, that
+when going home one day he came across a party of men trying to
+extricate a wagon which had stuck in the deep ruts. The oxen were out
+of breath and the teamsmen out of temper. Leonardo went up to them and
+made inquiries. One of the carters, wiping the sweat from his brow,
+muttered an imprecation upon poets, past, present and future (_Dii
+perdant poetas omnes, et qui fuerunt unquam et qui futuri sunt_.)
+Leonardo, a poet himself, asked what harm they had done him: and the
+man simply replied that it was because this poet, Aragazzi, who was
+lately dead, ordered his marble tomb to be taken all the way to
+Montepulciano from Rome, where he died; hence the trouble. "_Hæc est
+imago ejus quam cernis_," said the man, pointing to the effigy, having
+incidentally remarked that Aragazzi was "_stultus nempe homo ac
+ventosus_."[94] Certainly Aragazzi was not a successful man, and he
+was addicted to vanity. In the marble we see a wan melancholy face,
+seemingly of one who failed to secure due measure of public
+recognition. The monument need not be further described, except to say
+that two of the surviving figures are very remarkable. They probably
+acted as caryatides, of which there must have been three, replacing
+ordinary columns as supporters of the sarcophagus. They can hardly be
+Virtues, for they are obviously muscular men with curly hair and
+brawny arms. They are not quite free from mannerisms: the attitudes,
+granting that the bent position were required by their support of the
+tomb, are not quite easy or natural. But, in spite of this, they are
+really magnificent things, placing their author high among sculptors
+of his day.
+
+[Footnote 93: The effigy is placed in a niche close to the great door
+of the Cathedral, put there "lest the memory of so distinguished a man
+should perish"--"_Simulacrum ejus diu neglectum, ne tanti viri memoria
+penitus deleretur, Politiana pietas hic collocandum curavit anno
+MDCCCXV_." The remainder consists of a frieze now incorporated in the
+high altar, on either side of which stand two caryatides. The Christ
+Blessing is close by. Two bas-reliefs are inserted into pillars
+opposite the effigy.]
+
+[Footnote 94: "Letters," Florence ed. 1741, vol. ii. 45.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB OF CARDINAL BRANCACCI
+
+NAPLES]
+
+
+[Sidenote: The Brancacci Tomb.]
+
+The Church of Sant' Angelo a Nilo at Naples contains the monument of
+Cardinal Brancacci, one of the most impressive tombs of this period.
+The scheme is a modification of the Coscia tomb. Instead of the three
+Virtues in niches at the base, there are three larger allegorical
+figures, which are free standing caryatides below the sarcophagus.
+They are allegorical figures, perhaps Fates, and correspond with the
+two somewhat similar statues at Montepulciano. The Cardinal's effigy
+lies upon the stone coffin, the face of which has a bas-relief between
+heraldic shields. Two angels stand above the recumbent figure, holding
+back the curtain which extends upwards to the next storey, surrounding
+a deep lunette in which there is a Madonna between two Saints. Here
+the monument should have ended, but it is surmounted by an ogival
+arch, flanked by two trumpeting children and with a central medallion
+of God the Father. This topmost tier may have been a subsequent
+addition. It overweights the whole monument, introduces a discordant
+architectural motive, and is decorated by inferior sculpture. The
+Madonna in the lunette is also poor, and the curtain looks as if it
+were made of lead. But the lower portion of the tomb compensates for
+the faults above. The caryatides, the bas-relief of the Assumption,
+the Cardinal himself and the mourning angels above him, are all superb
+in their different ways. Michelozzo may have been responsible for the
+architecture, and Pagno di Lapo for the upper reliefs. Donatello
+himself made the priceless relief of the Assumption, also the effigy,
+and the two attendants standing above it. The entire tomb is marble:
+it was made at Pisa,[95] close to the inexhaustible quarries which,
+being near to the sea, made transport easy and cheap. From the time of
+Strabo, the _marmor Lunense_ had been carried thence to every port of
+the Peninsula.[96] Michelozzo took the tomb to Naples, and perhaps
+added the final touches: not, indeed, that the carving is quite
+complete, the Cardinal's ear, for instance, being rough-hewn.
+Brancacci lies to the left, wearing a mitre on his head, which is
+raised on a pillow. The chiselling of the face is masterly. The
+features are shown in painful restless repose. The eyes are sunken and
+half closed: the lips are drawn, the brow contracted, and the throat
+shows all the tendons and veins which one notices in the Habbakuk, but
+which are here relaxed and uncontrolled. It is a death-mask: a grim
+and instantaneous likeness of the supreme moment, when the agony may
+have passed away, but not without leaving indelible traces of the
+crisis. The two angels look down on the dead prelate. They hold back
+the curtain which would conceal the effigy, thus inviting the
+spectator into the privacy of the tomb. In some ways these two angels
+are among the noblest creations of the master. They are comparatively
+small, their position is subordinate, and they have been repaired by a
+clumsy journeyman. Yet they have a majestic solemnity. They are calm
+impersonal mourners--not shrouded like the bowed figures which bear
+the effigy of the Sénéchal of Burgundy.[97] They stand upright, simply
+posed and simply clad guardian angels, absorbed by watching the dead.
+The three large figures which support the sarcophagus are by
+Michelozzo, and are intimately related to the Aragazzi caryatides.
+That on the right has a Burgundian look. They form a striking group,
+and their merits are not appreciated as they should be owing to the
+excellence of the sculpture immediately above them.
+
+[Footnote 95: Donatello worked there for eighteen months. See
+documents in Centofanti, p. 4, &c.]
+
+[Footnote 96: "_... Lapides albi et discolores ad coeruleum vergente
+specie._" Strabo, "Geog.," 1807 ed., I. v. p. 314.]
+
+[Footnote 97: Louvre, No. 216. Tomb of Philippe Pot, circa 1480.]
+
+       *       *       *       *       *
+
+[Sidenote: Stiacciato.]
+
+The Assumption of the Virgin occupies the central position of the
+tomb. It is a small panel. The Virgin is seated in a folding-chair
+which is familiar in fifteenth-century art. Surrounding her are angels
+supporting the clouds which make an oval halo round her, a _mandorla_.
+The cloud, curiously enough, is very heavy, yielding to the touch, and
+upheld by the flying angels, whose hands press their way into it, and
+bear their burden with manifest effort. There is none of the limpid
+atmosphere which Perugino secured in painting, and Ghiberti in
+sculpture. But, on the other hand, the air is full of drama, presaging
+an event for which Donatello thought a placid sky unsuitable. There
+are seven angels in all; the lowest, upon whose head the Virgin rests
+her foot, is half Blake and half Michael Angelo. But there are many
+other busy little cherubs swimming, climbing, and flying amidst the
+interstices of cloudland. The Virgin herself, draped in easy-flowing
+material, has folded her hands, and awaits her entry to Paradise. Her
+face is the picture of anxiety and apprehension. The Assumption is
+carved in the lowest possible relief, called _stiacciato_. The word
+means depressed or flattened. It is the word with which Condivi
+describes the appearance of Michael Angelo's nose after it had been
+broken--it was "_un poco stiacciato; non per natura_," but by the blow
+of a certain Torrigiano, "_huomo bestiale e superbo_."[98] Donatello
+was fond of this method of work. We have a fine example in London,[99]
+and his most successful use of _stiacciato_ is on the Roman Tabernacle
+made a few years after the Brancacci relief. Donatello did not invent
+this style. It had been used in classical times, though scarcely to
+the extent of Donatello, who drew in the marble. The Assyrians also
+used this low-relief; we find the system fully understood in what are
+perhaps the most spirited hunting scenes in the world.[100] In these
+we also notice the square and rectangular undercutting similar to that
+in many of Donatello's reliefs. Another specimen of this very
+low-relief is found in Mr. Quincy Shaw's marble panel of the Virgin
+and Child seated among clouds and surrounded by _putti_. This has been
+attributed to Donatello on good authority,[101] though it must be
+remarked that the cherubs' faces show poverty of invention which might
+suggest the hand of a weaker man. Moreover, the cherubs have halos,
+which is a later development, and quite contrary to Donatello's early
+practice. But the relief is an interesting composition, and if by
+Donatello, may be regarded as the parent of a group which attained
+popularity. M. Gustave Dreyfus has a smaller marble variant of great
+charm, made by Desiderio. A stucco panel treated in much the same
+manner is preserved at Berlin. The Earl of Wemyss has an early version
+in _repoussé_ silver of high technical merit. From this point of view
+nothing is more instructive than a Madonna and Child at Milan.[102] It
+is probably the work of Pierino da Vinci, and is a thin oval slab of
+marble carved on either side. One side is unfinished, and is most
+valuable as showing the facility with which the sharp graving tools
+were employed to incise the marble. The composition bears a
+resemblance to the reliefs just mentioned, and the pose of the two
+heads is Donatellesque, but the Child is elongated and ill-drawn.
+Again, from a technical point of view, a medallion portrait of the
+late Lord Lytton shows that artists of our own day have used
+_stiacciato_ with perfect confidence and success.[103] Donatello was
+not always quite consistent in its employment. In the Entombment at
+Padua it is combined with high-relief. He, no doubt, acted
+deliberately; that is to say, he did not sketch a hand in
+_stiacciato_, because he had forgotten to provide for it in deeper
+relief. But the result is that the quality of the different planes is
+lost, and there are discrepancies in the relative values of distance.
+The final outcome of _stiacciato_ is the art of the medallist. It is
+said that Donatello made a medal, but nobody has determined which it
+is. Michelozzo certainly made one of Bentivoglio, about 1445.[104]
+This admirable art, which reached its perfection during Donatello's
+lifetime, owes something of its progress to the pioneer of
+_stiacciato_.
+
+[Footnote 98: "Vita di Michael Angelo," Rome, 1553, p. 49.]
+
+[Footnote 99: Victoria and Albert Museum, Charge to Peter. See p. 95.]
+
+[Footnote 100: British Museum, Assyrian Saloon, Nos. 63-6.]
+
+[Footnote 101: Bode, "Florentiner Bildhauer," p. 119.]
+
+[Footnote 102: In the Museo Archeologico in the Castello, unnumbered.]
+
+[Footnote 103: By Alfred Gilbert, R.A., belonging to the present Earl
+of Lytton.]
+
+[Footnote 104: See Armand, "Les Médailleurs Italiens," 1887, iii. p.
+3.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB PLATE OF BISHOP PECCI
+
+SIENA CATHEDRAL]
+
+
+[Sidenote: Tombs of Pecci, Crivelli, and Others.]
+
+The tomb of Giovanni de' Medici in San Lorenzo is interesting, and has
+been ascribed to Donatello. There is no documentary authority for this
+attribution, and on stylistic grounds it is untenable.[105] It is a
+detached tomb, so common elsewhere, but of singular rarity in Italy.
+The isolated tomb like this one, like that of Ilaria del Carretto, or
+that of Pope Sixtus IV. in St. Peter's, has great advantages over the
+tall upright monument _appliqué_ to a church wall. The latter is,
+however, the ordinary type of the Renaissance. The free-standing tomb
+can be seen from all aspects and lights. Although it must be
+smaller--some of the later wall-tombs are fifty feet high--the
+sculptor was obliged to keep his entire work well within the range of
+vision, and had to rely on plastic art alone for success. Much
+admirable sculpture, especially the effigies, has been lost by being
+placed too high on some pretentious catafalque in relief against a
+wall. The tomb of Giovanni, it is true, though standing in the centre
+of the sacristy, is covered by a large marble slab, which is the
+priest's table. It throws the tomb into dark shadow and makes it
+difficult to see the carving. There are few tombs of important people
+upon which so much trouble has been expended with so little result.
+Donatello is also said to have made a tomb for the Albizzi, but it has
+perished.[106] The tomb of Chellini in San Miniato, which tradition
+ascribed to Donatello, is probably the work of Pagno di Lapo. The prim
+and priggish Cardinal Accaiuoli in the Certosa of Florence does not
+suggest Donatello's hand. Though conscientious and painstaking, the
+work is without a spark of energy or conviction. These latter are
+slab-tombs, flat plates fastened into the church pavements. We have
+two authentic tombs of this character, on both of which Donatello has
+signed his name. Had he not done so, we could never have established
+his authorship of the marble slab-tomb of Archdeacon Crivelli in the
+Church of Ara Coeli at Rome. It has been trampled by the feet of so
+many generations, that all the features have been worn away; the
+legend is wholly effaced in certain parts, and one corner has had to
+be restored (though at some early date). But at best it cannot have
+compared with Donatello's similar tomb of Bishop Pecci at Siena, and
+one could quote numerous instances of equally good work by nameless
+men. There is one close to the Crivelli marble itself, another in the
+Pisa Baptistery, two in Santa Croce, and so forth. This kind of tomb
+had to undergo rough usage. Everybody walked upon it: the deep relief
+made it a receptacle for mud and rubbish. The effigy of the deceased,
+as was probably intended by him, was humbled in the dust: _adhesit
+pavimento_. The slabs got injured, and were often protected by low
+tables with squat legs. Later on the slabs were raised enough to
+prevent people standing on them, and thus became like free-standing
+tombs; but it only made them more suitable for the sitting
+requirements of the congregation. These sunken tombs, in fact, became
+a nuisance. Although they were not carved in the very deep relief like
+those one sees in Bavaria, they collected the dirt, and a papal brief
+was issued to forbid them--_ut in ecclesiis nihil indecens
+relinquatur_,[107] and the existing slabs were ordered to be removed.
+Irretrievable damage must have resulted from this edict, but
+fortunately it was disobeyed in Rome and ignored elsewhere. Nowadays
+it has become the custom to place these slabs upright against the
+walls, thus preventing further detrition. To Cavaliere D. Gnoli we owe
+the preservation of the Crivelli tomb, which was in danger of complete
+demolition.[108] By being embedded in a wall instead of lying in a
+pavement this kind of monument, while losing its primitive position,
+often gains in appearance. Crivelli, for instance, lies within an
+architectural niche. His head rests on a pillow, the tassels of which
+fall downwards towards his feet. When placed against a wall the need
+for a pillow may vanish, but the meaning and use of the niche becomes
+apparent, while the tassels no longer defy the laws of gravitation. He
+becomes a standing figure at once, and the flying _putti_ above his
+head assume a rational pose. It has been suggested that this and
+similar tomb-plates were always intended to be placed upright, and
+that the delicate ornamentation, of which some traces survive, would
+never have been lavished on marble doomed to gradual destruction. No
+general rule can be laid down, but undoubtedly most of these slabs
+were meant to be recumbent. There are few cases where some
+contradiction of _emplacement_ with pose cannot be detected. But two
+examples may be noted where the slabs were clearly intended to be
+placed in walls. An unnamed bishop at Bologna lies down, while at
+either end of the slab an angel _stands_, at right angles to the
+recumbent figure, holding a pall or curtain over the dead man.[109]
+Signor Bardini also has an analogous marble effigy of a mitred bishop,
+about 1430-40, who lies down while a friar stands behind his head.
+These slabs were, therefore, obviously made for insertion in a wall,
+and they are quite exceptional. The tomb-plate of Bishop Pecci in
+Siena Cathedral is less open to objection on the ground of incongruity
+between its position and the Bishop's pose. It is made of bronze, and
+is set in the tessellated pavement of green, white and mauve marble.
+Technically it is a triumph. Although the surface is considerably
+worn, we have the sense of absolute calm and repose--in striking
+contrast to the wearied look of Brancacci. The Bishop died on March 1,
+1426; a few days previously he wrote his will, while he lay
+dying--"_sanus mente licet corpore languens_"--and left careful
+instructions as to his burial in an honourable part of the Cathedral
+and how the exact cost of his funeral was to be met.[110] In a way the
+figure resembles St. Louis, and Donatello probably had the help of
+Michelozzo in the casting. The work itself is extremely good, and the
+bronze has the rich colour which one finds most frequently in the
+smaller provincial towns where time is allowed to create its own
+_patina_. Donatello was a bold innovator, and the Tomb of Coscia,
+though not the parent of the Renaissance theory of funeral monuments,
+had marked influence upon its evolution. From the simple outdoor tombs
+placed upon pillars, such as one principally finds north of the
+Apennines, there issued a grander idea which culminated in the
+monuments of the Scaligers at Verona. But Donatello reverted to the
+earlier type of indoor tomb, and from his day the tendency to treat
+them as an integral feature of mural and structural decoration
+steadily increased. A host of sculptors filled the Tuscan churches
+with those memorials which constitute one of their chief attractions.
+These men imbued death with its most gentle aspect, concealing the
+tragedy and sombre meaning of their work with gay arabesques and the
+most living and lovable creations of their fancy. The _putti_, the
+bright heraldry, the play of colour, and the opulence of decoration,
+often distract one's eye from the effigy of the dead: and he, too, is
+often smiling. He may represent the past: the rest of the tomb is
+born of the present, and seldom--exception being made for a group of
+tombs to which reference will be made later on[111]--seldom is there
+much regard for the future. The dead at least are not asked to bury
+their dead. They lie in state, surrounded by all that is most young
+and blithe in life: it is a death which shows no indifference to the
+life which is left behind. With them death is in the midst of life,
+not life in the midst of death. Donatello was too severe for the later
+Renaissance, and the brilliant sculptors who succeeded him lost
+influence in their turn. With the development of sculpture, which
+during Michael Angelo's lifetime acquired a technical skill to which
+Donatello never aspired, the tomb became a vehicle for ostentation and
+display; and there was a reaction towards the harsher symbols of
+death. Instead of the quiet mourner who really mourns, we have the
+strident and professional weeper--a parody of sorrow. Tier upon tier
+these prodigious monuments rise, covering great spaces of wall,
+decorated with skulls and skeletons, with Time carrying his scythe,
+with negro caryatides, and with apathetic or showy models masquerading
+as the cardinal virtues. The effigy itself is often perched up so high
+as to be invisible, or sitting in a ridiculous posture. "Princes'
+images on their tombs," says Bosola in Webster's play, "do not lie as
+they were wont, seeming to pray up to heaven; but with their hands
+under their cheeks, as if they had died of toothache."[112] Venice
+excelled in this rotund and sweltering sculpture. Yet it cannot be
+wholly condemned. Though artificial, theatrical and mundane, its
+technical supremacy cannot be denied. The amazing ease with which
+these huge monuments are contrived, and the absolute sense of mastery
+shown by the sculptor over the material are qualities too rare to be
+lightly overlooked. Whatever we may think of the artist, our
+admiration is commanded by the craftsman.
+
+[Footnote 105: Wreaths and _putti_ form its decoration, and though
+Donatellesque, they are not by Donatello. This was pointed out as
+early as 1819. See "Monumenti Sepolcrali della Toscana," p. 28.]
+
+[Footnote 106: Bocchi, 354.]
+
+[Footnote 107: Bull., "Cum primum," § 6, "_et ut in ecclesiis nihil
+indecens relinquatur, iidem provideant, ut capsæ omnes, et deposita,
+seu alia cadaverum, conditoria super terram existentia omnino
+amoveantur, pro ut alias statutum fuit, et defunctorum corpora in
+tumbis profundis, infra terram collocentur_." Bullarium, 1566, vol.
+iv., part ii., p. 285. For the whole question of the evolution of
+these tombs, see Dr. von Lichtenberg's valuable book, "Das Porträt an
+Grabdenkmalen," Strassburg, 1902.]
+
+[Footnote 108: See "Archivio Storico dell' Arte," 1888, p. 24, &c.]
+
+[Footnote 109: In Santo Stefano, Cortile di Pilato.]
+
+[Footnote 110: "Misc. Storica Senese," 1893, p. 30.]
+
+[Footnote 111: See p. 171.]
+
+[Footnote 112: From the Duchess of Malfi, quoted in Symonds' "Fine
+Arts," p. 114.]
+
+       *       *       *       *       *
+
+[Sidenote: The Second Visit to Rome.]
+
+During the year 1433, when Florence enjoyed the luxury of driving
+Cosimo de' Medici into exile, Donatello went to Rome in order to
+advise Simone Ghini about the tomb of Pope Martin V.--_temporum suorum
+filicitas_, as the epitaph says.[113] This visit to Rome, which is not
+contested, like the visit thirty years earlier, did not last long, and
+certainly did not divert Donatello from the line he had struck out. At
+this moment the native art of Rome was colourless. A generation later
+it became classical, and then lapsed into decadence. The number of
+influences at work was far smaller than would at first be imagined. It
+is generally assumed that Rome was the home of classical sculpture.
+But early in the fifteenth century Rome must have presented a scene of
+desolation. The city had long been a quarry. Under Vespasian the
+Senate had to pass a decree against the demolition of buildings for
+the purpose of getting the stone.[114] Rome was plundered by her
+emperors. She was looted by Alaric, Genseric, Wittig and Totila in
+days when much of her art remained _in situ_. She was plundered by her
+Popes. Statues were used as missiles; her marble was exported all over
+the world--to the Cathedrals of Orvieto and Pisa, even to the Abbey
+Church of Westminster. Suger, trying to get marble columns for his
+church, looked longingly at those in the baths of Diocletian, a
+natural and obvious source, though happily he stole them
+elsewhere.[115] The vandalism proceeded at an incredible pace. Pius
+II. issued a Bull in 1462 to check it; in 1472 Sixtus IV. issued
+another. Pius, however, quarried largely between the Capitol and the
+Colosseum. The Forum was treated as an ordinary quarry which was let
+out on contract, subject to a rental equivalent to one-third of the
+output. But in 1433, and still more during the first visit, there was
+comparatively little sculpture which would lead Donatello to classical
+ideas. Poggio, writing just before Donatello's second visit, says
+he sees almost nothing to remind him of the ancient city.[116]
+He speaks of a statue with a complete head as if that were very
+remarkable--almost the only statue he mentions at all. Ghiberti
+describes two or three antique statues with such enthusiasm that one
+concludes he was familiar with very few. In fact, before the great
+digging movement which enthralled the Renaissance, antique sculpture
+was rare. But little of Poggio's collection came from Rome: Even
+Lorenzo de' Medici got most of his from the provinces. A century later
+Sabba del Castiglione complains of having to buy a Donatello owing to
+the difficulty of getting good antiques.[117] Rome had been devastated
+by cupidity and neglect as much as by fire and sword. "Ruinarum urbis
+Romæ descriptio" is the title of one of Poggio's books. Alberti says
+that in his time he had seen 1200 ruined churches in the city.[118]
+Bramantino made drawings of some of them.[119] Pirro Ligorio, an
+architect of some note, gives his recipe for making lime from antique
+statues--so numerous had they become. But much remained buried before
+that time, _sotterrate nelle Rovine d'Italia_,[120] and Vasari
+explains that Brunellesco was delighted with a classical urn at
+Cortona, about which Donatello had told him, because such a thing was
+rare in those times, antique objects not having been dug up in such
+quantities as during his own day.[121] But the passion for classical
+learning developed quickly, and was followed by the desire for
+classical art. Dante had scarcely realised the art of antiquity,
+though more was extant in 1300 than in 1400. Petrarch, who was more
+sympathetic towards it, could scarcely translate an elementary
+inscription. From the growing desire for knowledge came the search for
+tangible relics: but love of classical art was founded on sentiment
+and tradition. As regards the sculptors themselves, their art was less
+influenced by antiquity than were the arts of poetry, oratory and
+prose. While Rossellino, Desiderio, Verrocchio and Benedetto da Maiano
+maintained their individuality, the indigenous literature of Tuscany
+waned. Sculpture retained its freedom longer than the literary arts,
+and when the latter recovered their national character sculpture
+relapsed in their place into classicism. From early times sculptors
+had, of course, learned what they could from classical exemplars.
+Niccola Pisano copied at least four classical motives. There was no
+plagiarism; it was a warm tribute on his part, and at that time a
+notable achievement to have copied at all. But the imitation of
+antiquity was carried to absurd lengths. Ghiberti, who was a literary
+man, says that Andrea Pisano lived in the 410th Olympiad.[122] But
+Ghiberti remained a Renaissance sculptor, and his classical
+affectation is less noticeable in his statues than in his prose.
+Filippo Strozzi went so far as to emancipate his favourite slave, a
+"_grande nero_," in his will.[123] But Gothic art died hard. The
+earlier creeds of art lingered on in the byways, and the Renaissance
+was flourishing long before Gothic ideas had completely perished--that
+is to say, Renaissance in its widest meaning, that of reincarnated
+love of art and letters: if interpreted narrowly the word loses its
+deep significance, for the Renaissance engendered forms which had
+never existed before. But it must be remembered that in sculpture
+classical ideas preceded classical forms. Averlino, or Filarete, as a
+classical whim led him to be called, began the bronze doors of St.
+Peter's just before Donatello's visit. They are replete with classical
+ideas, ignoble and fantastic, but the art is still Renaissance.
+Comparatively little classical art was then visible, and its
+infallibility was not accepted until many years later, when Rome was
+being ransacked for her hidden store of antiquities. Statues were
+exhumed from every heap of ruins, generally in fragments: not a dozen
+free-standing marble statues have come down to us in their pristine
+condition. The quarrymen were beset by students and collectors anxious
+to obtain inscriptions. Traders in forgeries supplied what the diggers
+could not produce. Classical art became a fetish.[124] The noble
+qualities of antiquity were blighted by the imitators, whose inventive
+powers were atrophied, while their skill and knowledge left nothing to
+be desired. Excluding the Cosmati, Rome was the mother of no period or
+movement of art excepting the Rococo. As for Donatello himself, he was
+but slightly influenced by classical motives. His sojourn in Rome was
+short, his time fully occupied; he was forty-seven years old and had
+long passed the most impressionable years of his life. He was a noted
+connoisseur, and on more than one occasion his opinion on a question
+of classical art was eagerly sought. But, so far as his own art was
+concerned, classical influences count for little. His architectural
+ideas were only classical through a Renaissance medium. When a patron
+gave him a commission to copy antique gems, he did his task faithfully
+enough, but without zest and with no ultimate progress in a similar
+direction. When making a portrait he would decorate the sitter's
+helmet or breastplate with the cameo which actually adorned it. With
+one exception, classical art must be sought in his detail, and only
+in the detail of work upon which the patron's advice could be suitably
+offered and accepted. Donatello may be compared with the great
+sculptors of antiquity, but not to the extent of calling him their
+descendant. Raffaelle Mengs was entitled to regret that the other
+Raffaelle did not live in the days of Phidias.[125] Flaxman was
+justified in expressing his opinion that some of Donatello's work
+could be placed beside the best productions of ancient Greece without
+discredit.[126] These _obiter dicta_ do not trespass on the domain of
+artistic genealogy. But it is inaccurate to say, for instance, that
+the St. George is animated by Greek nobility,[127] since in this
+statue that quality (whether derived from Gothic or Renaissance
+ideals) cannot possibly have come from a classical source.
+Baldinucci is on dangerous ground in speaking of Donatello as
+"_emulando mirabilmente la perfezione degli antichissimi scultori
+greci_"[128]--the writer's acquaintance with archaic Greek sculpture
+may well have been small! We need not quarrel with Gori for calling
+Donatello the Florentine Praxiteles; but he is grossly misleading in
+his statement that Donatello took the greatest pains to copy the art
+of the ancients.[129] Donatello may be the mediæval complement of
+Phidias, but he is not his artistic offspring.
+
+[Footnote 113: It is a bronze slab, admirably wrought and preserved,
+in S. Giovanni Laterano. Were it not for an exuberance of decoration,
+one might say that Donatello was responsible for it; the main lines
+certainly harmonise with his work. Simone Ghini was mistaken by Vasari
+for Donatello's somewhat problematical brother Simone.]
+
+[Footnote 114: See Codex. Just. Leg. 2. Cod. de ædif. privatis. A
+similar law at Herculaneum had forbidden people to make more money by
+breaking up a house than they paid for the house itself, under penalty
+of being fined double the original outlay. This shows the extent of
+speculative destruction. Reinesius, "Synt. Inscript. Antiq.," 475, No.
+2.]
+
+[Footnote 115: See his Libellus in "Rer. Gall. Script.," xiv. 313.]
+
+[Footnote 116: _Nihil fere recognoscat quod priorem urbem
+repræsentet_, in "De Varietate fortunæ urbis Romæ." Nov. Thes. Antiq.
+Rom., i. 502.]
+
+[Footnote 117: "Ricordi," 1544. No. 109, p. 51.]
+
+[Footnote 118: Written about 1450. "De re ædificatoria." Paris ed.
+1553, p. 165.]
+
+[Footnote 119: _Cf._ Plate 49 in "Le Rovine di Roma." "Tempio
+circolare." Written beside it is "_Questo sie uno tempio lo quale e
+Atiuero_ (i.e., _che è presso al Tevere_) _dove se chauaue li prede
+antigha mente_ (i.e., _si cavavano le pietre anticamente_)."]
+
+[Footnote 120: Vasari, "Proemio," i. 212.]
+
+[Footnote 121: _Cosa allora rara, non essendosi dissotterata quella
+abbondanza che si è fatta ne' tempi nostri_, i. 203.]
+
+[Footnote 122: "2nd Commentary," in Vasari, I. xxviii.]
+
+[Footnote 123: Gaye, i. 360.]
+
+[Footnote 124: _Cf._ the action of the Directory in year vi. of the
+French Republic. They ordered the statues looted in Italy to be
+paraded in Paris--hoping to find the clue to ancient supremacy. Louis
+David pointedly observed, "_La vue ... formera peut-être des savans,
+des Winckelmann: mais des artistes, non_."]
+
+[Footnote 125: "Works," 1796, i. 151.]
+
+[Footnote 126: "Lectures," 1838, p. 248.]
+
+[Footnote 127: Semper, p. 93.]
+
+[Footnote 128: Ed. 1768, p. 74.]
+
+[Footnote 129: "Donatellus, qui primum omnium vetustis monumentis
+mirifice delectatus est, eaque imitari ac probe exprimere in suis
+operibus adsidue studuit."--"Dactyliotheca Smithiana," 1768, II. p.
+cxxvi.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TABERNACLE
+
+ST. PETER'S, ROME]
+
+
+[Illustration: THE CHARGE TO PETER
+
+LONDON]
+
+
+[Sidenote: Work at Rome.]
+
+Up till a few years ago the most important work Donatello made in Rome
+was unknown. We were aware that he had made a tabernacle, but all
+record of it was lost, until Herr Schmarsow identified it in
+1886.[130] It was probably made for the Church of Santa Maria della
+Febbre,[131] and was transported to St. Peter's when Santa Maria was
+converted into a sacristy. The tabernacle is now in the Sacristy of
+the Canons, surrounded by sham flowers and tawdry decoration, which
+reduce its charms to a minimum. Moreover, the miraculous painting of
+the Madonna and Child which fills the centrepiece--having, perhaps,
+replaced a metal grille or marble relief, has been so frequently
+restored that a discordant element is introduced. The tabernacle is
+about six feet high; it is made of rather coarse Travestine marble,
+and in several parts shows indications of the hand of an assistant. It
+has suffered in removal; there are two places where the work has been
+repaired, and the medallion in the lower frieze has been filled with
+modern mosaic; otherwise it is in good order. It is essentially an
+architectural work, but the number of figures introduced has softened
+the hard lines of the construction, giving it plenty of life. Four
+little angels, rather stumpy and ill-drawn, are sitting on the
+lower plinth. Above them rise the main outer columns which support
+the upper portion of the tabernacle, and enclose the central opening,
+where the picture is now fixed. At the base of these columns there
+are two groups of winged children, three on either side, looking
+inwards towards the central feature of the composition. They
+bend forward reverently with their hands joined in prayer and
+adoration--admirable children, full of shyness and deference. The
+upper part of the tabernacle, supported on very plain corbels, is
+occupied by a broad relief, at either end of which stand other winged
+angels, more boyish and confident than those below. This relief
+is, perhaps, Donatello's masterpiece in _stiacciato_. It is the
+Entombment, his first presentment of those intensely vivid scenes
+which were so often reproduced during his later years. Christ is just
+being laid in the tomb by two solemn old men with flowing beards, St.
+Joseph and St. Peter. The Virgin kneels as the body is lowered into
+the tomb. Behind her is St. Mary Magdalene, her arms extended, her
+hair dishevelled; scared by the frenzy of her grief. To the right St.
+John turns away with his face buried in his hands. The whole
+composition--striking in contrast to the quiet and peaceful figures
+below--is treated with caution and reserve. But we detect the germ of
+the pulpits of San Lorenzo, where the rough sketch in clay could
+transmit all its fire and energy to the finished bronze. In this case
+Donatello not only felt the limitations of the marble, but he was not
+yet inclined to take the portrayal of tragedy beyond a certain point.
+The moderation of this relief entitles it to higher praise than we can
+give to some of his later work. The other panel in _stiacciato_ made
+about this time belonged to the Salviati family.[132] Technically the
+carving is inferior to that in St. Peter's, and it may be that in
+certain parts, especially, for instance, round the heads of Christ
+and one of the Apostles, the work is unfinished. Christ is seated on
+the clouds, treated like those on the Brancacci panel, and hands the
+keys to St. Peter. The Apostles stand by, the Virgin kneels in the
+foreground, and on the left there are two angels like those on the
+tabernacle. Trees are lightly sketched in, and no halos are employed.
+The work is disappointing, for it is carved in such extraordinarily
+low-relief that parts of it are scarcely recognisable on first
+inspection; the marble is also rather defective. As a composition--and
+this can best be judged in the photograph--the Charge to Peter is
+admirable. The balance is preserved with skill, while the figures are
+grouped in a natural and easy fashion. The row of Apostles to the left
+shows a rendering of human perspective which Mantegna, who liked to
+make his figures contribute to the perspective of the architecture
+around them, never surpassed. This panel, in spite of Bocchi's praise,
+shares one obvious demerit with the relief in St. Peter's. The Virgin,
+who kneels with outstretched hands as she gazes upwards to the Christ,
+is almost identical with a figure on the Entombment. She is ugly, with
+no redeeming feature. The pose is awkward, the drapery graceless, the
+contour thick, and her face, peering out of the thick veil, is
+altogether displeasing. One has no right to look for beauty in
+Donatello's statues of adults: character is what he gives. But neither
+does one expect this kind of vagary. There is great merit in the
+plaintive and wistful ugliness of the Zuccone: Here the ugliness is
+wanton, and therefore inexcusable. The Crivelli tomb and the Baptist
+in San Giovanni Fiorentino have been already described. There were
+other products of Donatello's visit to Rome, but they are now lost.
+Tradition still maintains that the wooden Baptist in S. Giovanni
+Laterano is his work. But it cannot possibly be by him, though it may
+be a later copy of a fifteenth-century original. Curiously enough,
+there is another Baptist in the same church which is Donatellesque in
+character and analogous in some respects to the St. John at Siena,
+namely, the large bronze statue signed by Valadier and dated 1772.
+Valadier was a professional copyist, some of his work being in the
+Louvre. Where he got the design for this Baptist we do not know; but
+it is certainly not typical of the late eighteenth century. Titi
+mentions a head in Santa Maria Sopra Minerva, and a medallion portrait
+of Canon Morosini in Santa Maria Maggiore.[133] Neither of them can be
+found.
+
+[Footnote 130: See Schmarsow, p. 32.]
+
+[Footnote 131: See "Arch. Storico dell' Arte," 1888, p. 24.]
+
+[Footnote 132: Victoria and Albert Museum, No. 7629, 1861. Bocchi
+says: "_Un quadro di marmo di mano di Donatello di basso relievo: dove
+è effigiato quando da le chiavi Cristo a S. Pietro. Estimata molto da
+gli artefici questa opera: la quale per invenzione è rara, e per
+disegno maravigliosa. Molto è commendata la figura di Cristo, e la
+prontezza che si scorge nel S. Pietro. E parimente la Madonna posta in
+ginocchione, la quale in atto affetuoso ha sembiante mirabile e
+divoto_," p. 372.]
+
+[Footnote 133: "Ammaestramento Utile," 1686, p. 141. "_Una testa nel
+deposito a mano destra della Porta Maggiore, è scoltura di Donatello
+Fiorentino._" In Chapel of Paul V., Sta. M. Maggiore: "_In terra in
+una lapide vi è di profilo la figura del Canonico Morosini, opera di
+Donatello famoso scultore e architetto._" _Ibid._ p. 241.]
+
+       *       *       *       *       *
+
+[Sidenote: The Medici Medallions.]
+
+The Medici did not remain in exile long, and their return to Florence
+marks an epoch in the artistic as well as the political history of
+Tuscany. From this moment the sway of the private collector and patron
+began. Gradually the great churches and corporations ceased giving
+orders on the grand scale, for much of the needful decoration was by
+then completed. By the middle of the century patronage was almost
+wholly vested in the magnates of commerce and politics: if a chapel
+were painted or a memorial statue set up, in most cases the artist
+worked for the donor, and not for the church authorities. The
+monumental type of sculpture became more rare, _bric à brac_ more
+common. Well-known men like Donatello received the old kind of
+commission to the end of their lives, while younger men, though fully
+occupied, were seldom entrusted with comprehensive orders. Even
+Michael Angelo was more dependent on the Pope than upon the Church.
+Among the earliest commissions given by the Medici after their return
+was an order for marble copies of eight antique gems. These were
+placed in the courtyard of their Florentine house, now called the
+Palazzo Riccardi. They are colossal in size, and represent much labour
+and no profit to art. Nothing is more suitably reproduced on a cameo
+than a good piece of sculpture; but the engraved gem is the last
+source to which sculpture should turn for inspiration. Donatello had
+to enlarge what had already been reduced; it was like copying a
+corrupt text. The size of these medallions accentuates faults which
+were unnoticed in the dainty gem. The intaglio of Diomede and the
+Palladium (now in Naples) is too small to show the fault which is so
+glaring in the marble relief, where Diomede is in a position which it
+is impossible for a human being to maintain. But the relief is
+admirably carved: nothing could be better than the straining sinews of
+the thigh; and it is of interest as being the only one which is
+related to any other work of the sculptor. The head of one of the
+angels in the Brancacci Assumption is taken from this Diomede or from
+some other version of it. A similar treatment is found in Madame
+André's relief of a young warrior. It has been pointed out that some
+of the gems from which these medallions were made did not come into
+the Medici Collections until many years later.[134] Cosimo may have
+owned casts of the originals, or Donatello may have copied them in
+Rome, for they belonged at this time to the Papal glyptothek, from
+which they were subsequently bought. The subjects of these roundels
+are Ulysses and Athena, a faun carrying Bacchus, two incidents of
+Bacchus and Ariadne, a centaur, Dædalus and Icarus, a prisoner before
+his victor, and the Diomede. Gems became very popular and expensive: a
+school of engravers grew up who copied, invented, and forged.
+Carpaccio introduced them into his pictures,[135] and Botticelli used
+them so freely that they almost became the ruling element of
+decoration in the "Calumny." Gems are incidentally introduced in
+Donatello's bust of the so-called Young Gattamelata, and on Goliath's
+helmet below the Bronze David. The Medusa head occurs on the base of
+the Judith, on the Turin Sword hilt, and on the armour of General
+Gattamelata. So much of Donatello's work has perished that it is
+almost annoying to see how well these Medici medallions are
+preserved--the work in which his individuality was allowed little
+play, and in which he can have taken no pride.
+
+[Footnote 134: Molinier, "Les Plaquettes," 1886, p. xxvi.]
+
+[Footnote 135: _Cf._ St. Ursula, Accademia, Venice, No. 574.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+THE BRONZE DAVID
+
+BARGELLO, FLORENCE]
+
+
+[Sidenote: The Bronze David.]
+
+According to Vasari, the Bronze David was made for Cosimo before the
+exile of the Medici, and consequently previous to Donatello's second
+journey to Rome. It was removed from the courtyard of the palace to
+the Palazzo Pubblico, where it remained for many years. Doni mentions
+it as being there in 1549,[136] and soon afterwards it was replaced by
+Verrocchio's fountain of the Boy squeezing the Dolphin. It is now in
+the Bargello. The base has been lost. Albertini says it was made of
+variegated marbles.[137] Vasari says it was a simple column.[138] It
+has been suggested that the marble pillar now supporting the Judith
+belonged to the David, but the David is even less fitted to this
+ill-conceived and pedantic shaft than Judith herself. The David soon
+acquired popularity; the French envoy, Pierre de Rohan, wanted a copy
+of it. It was certainly a remarkable innovation, being probably the
+first free-standing nude statue made in Italy for a thousand years.
+There had been countless nude figures in relief, but the David was
+intended to be seen from every side of Cosimo's _cortile_. There was
+no experimental stage with Donatello; his success was immediate and
+indeed conclusive. David is a stripling. He stands over the head of
+Goliath, a sword in one hand and a stone in the other, wearing his
+helmet, a sort of sun-hat in bronze which is decorated with a chaplet
+of leaves; below his feet is a wreath of bay. It is a consistent study
+in anatomy. The David is perhaps sixteen years old, agile and supple,
+with a hand which is big relative to the forearm, as nature ordains.
+The back is bony and rather angular; the torso is brilliantly wrought,
+with a purity of outline and a _morbidezza_ which made the artists in
+Vasari's time believe the figure had been moulded from life. One might
+break the statue into half a dozen pieces, and every fragment would
+retain its vitality and significance. The limbs are alert and full of
+young strength, with plenty more held in reserve: it is heroic in all
+respects except dimension. The face is clear cut, and each feature
+is rendered with precision. The expression is one of dreamy
+contemplation as he looks downwards on the spoils and proof of
+conquest. David hath slain his tens of thousands! Finally the quality
+of the statue is enhanced by the care with which the bronze has been
+chiselled. Goliath's helmet, and David's greaves, on which the _fleur
+de lys florencée_ has been damascened, are decorated with unfailing
+tact. The embellishment is in itself a pleasure to the eye, but it is
+prudently contained within its legitimate sphere; for Donatello would
+not allow the accessory to invade the statue itself, which is the
+chief fault of the rival David by Verrocchio. Donatello's statue marks
+an epoch in the study of anatomy. It is a genuine interpretation of a
+very perfect piece of humanity; but his knowledge compared with that
+of his successors was empiric. Leonardo's subtle skill was based upon
+dissection. Michael Angelo likewise studied from the human corpse,
+distasteful as he found the process. Donatello had no such scientific
+training: he had no help from the surgeon or the hospital, hence
+mistakes; his doubt, for instance, about the connection between ribs
+and pectoral bones was never resolved. But, notwithstanding this lack
+of technical data, the Bronze David has a distinction which is absent
+in statues made by far more learned men. Donatello's intuition
+supplied what one would not willingly exchange for the most exact
+science of the specialist. The David was an innovation, but the phrase
+must be guarded. It was only an innovation so far as it was a
+free-standing study from the nude. Nothing is more misleading than the
+commonplace that Christianity was opposed to the representation of the
+nude in its proper place. The early Church, no doubt, underwent a
+prolonged reaction against all that it might be assumed to connote;
+one might collect many quotations from patristic literature to this
+effect. But the very articles of the Christian Creed militated against
+the ultimate scorn of the human body: the doctrine of the Resurrection
+alone was enough to give it more sanctity than could be derived from
+all the polytheism of antiquity. The Baptism of Christ, the descent
+into Limbo, and the Crucifixion itself, were scenes from which the use
+of drapery had to be less or more discarded. The porches and frontals
+of Gothic churches abounded in nude statuary, from scenes in the
+Garden of Eden down to the Last Judgment. Abuses crept in, of course,
+and the Faith protested against them. The advancing standard of
+comfort and, no doubt, a steadily deteriorating climate, diminished
+the everyday familiarity with undraped limbs. Clothes became numerous
+and more normal; the artist came to be regarded as the purveyor of
+what had ceased to be of natural occurrence. He was encouraged by the
+connoisseur, lay and cleric, who found his literature in antiquity,
+and then demanded classical forms in his art. The nude was arbitrarily
+employed: there was no biblical authority for a naked David, and
+Donatello was therefore among the first to err in this respect. The
+taste for this kind of thing sprang from humanism, and throve with
+hellenism, till a counter-reaction came suddenly in the sixteenth
+century. Michael Angelo was hotly attacked for his excessive study
+from the nude as prejudicial to morals.[139] Ammanati wrote an abject
+apology to the Accademia del Disegno for the very frank nudity of his
+statues.[140] Some of the work of Bandinelli and Bronzino had to be
+removed. What was a rational and healthy protest has survived in
+grotesque and ill-fitting drapery made of tin--very negation of
+propriety. Although needed for biblical imagery, the nude in Italy was
+always exotic; in Greece it was indigenous. From the time of Homer
+there had been a worship of physical perfection. The Palæstra, the
+cultivation of athletics in a nation of soldiers, the religions of the
+country, with its favourable atmosphere, climate, and stone, all
+combined to make the nude a normal aspect of human life. But it was
+not the sole inspiration of their art: in Sparta, where there was most
+nude there was least art; in Italy, when there was worst art there was
+most nude.
+
+[Footnote 136: "_... una colonna nel mezzo dove è un Davitte di
+Donatello dignissimo._" Letter to Alberto Lollio, 17. viii. 1549,
+Bottari, iii. 341.]
+
+[Footnote 137: _Giù abasso è Davit di bronzo sopra la colonna fine di
+marmo variegato._ "Memoriale."]
+
+[Footnote 138: "Life of Bandinelli," x. 301.]
+
+[Footnote 139: "Due dialogi di Giovanni Andrea Gilio da Fabriano,"
+1564; a tiresome and discursive tirade.]
+
+[Footnote 140: 22. viii. 1582. Reprinted in Bottari, ii. 529.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+CANTORIA
+
+IN OPERA DEL DUOMO, FLORENCE]
+
+
+[Sidenote: Donatello and Childhood.]
+
+Michael Angelo strove to attain the universal form. His world was
+peopled with Titans, and he realised his ambition of portraying
+generic humanity: not, indeed, by making conventional, but by
+eliminating everything that was not typical. The earliest plastic art
+took clay and moulded the human form; the next achievement was to make
+specific man--the portrait; lastly, to achieve what was universal--the
+type. The progress was from man, to man in particular, and ultimately
+to man in general. There was a final stage when the typical lost its
+type without reverting to the specific, to the portrait. The
+successors of Michael Angelo were among the most skilful craftsmen who
+ever existed; but their knowledge only bore the fruit of unreality.
+Donatello did not achieve the typical except in his children: it was
+only in children that Michael Angelo failed. He missed this supreme
+opportunity; those on the roof of the Sistine Chapel are solemn and
+grown old with care: children without childhood. With Donatello all is
+different. His greatness and title to fame largely rest upon his
+typical childhood: his sculpture bears eloquent witness to the closest
+observation of all its varying and changeful moods. Others have
+excelled in this or that interpretation of child-life: Greuze with his
+sentimentalism, the Dutch painters with their stolidity. In Velasquez
+every child is the scion of some Royal House, in Murillo they are all
+beggars. They are too often stupid in Michelozzo: in Andrea della
+Robbia they are always sweet and winsome; Pigalle's children know too
+much. Donatello alone grasped the whole psychology. He watched the
+coming generation, and foresaw all that it might portend: tragedy and
+comedy, labour and sorrow, work and play--plenty of play; and every
+problem of life is reflected and made younger by his chisel. How far
+the sculptors of the fifteenth century employed classical ideas is not
+easily determined. There was, however, one classical form which was
+widely used, namely, the flying _putti_ holding a wreath or
+coat-of-arms between them: we find it on the frieze of the St. Louis
+niche, and it is repeated on Judith's dress. The wreath or garland, of
+which the Greeks were so fond, became a favourite motive for the
+Renaissance mantelpiece. The classical _amoretti_, of which many
+versions in bronze existed, were also frequently copied. But there was
+one radical difference between the children of antiquity and those of
+the Renaissance. Though children were introduced on to classical
+sarcophagi and so forth, it is impossible to say that it was for the
+sake of their youth. There are genii in plenty; and in the imps which
+swarm over the emblematic figure of the Nile in the Vatican the
+sculptor shows no love or respect for childhood. There is no child on
+the Parthenon frieze, excepting a Cupid, who has really no claim to be
+reckoned as such. Donatello could not have made a relief 150 yards
+long without introducing children, whether their presence were
+justified or not. He would probably have overcrowded the composition
+with their young forms. Whether right or wrong, he uses them
+arbitrarily, as simple specimens of pure joyous childhood. Antique
+sculpture, too, had its arbitrary and conventional adjuncts--the Satyr
+and the Bacchic attendants; but how dreary that the vacant spaces in a
+relief should have to rely upon what is half-human or offensive--the
+avowedly inhuman gargoyles of the thirteenth century are infinitely to
+be preferred. Donatello was possessed by the sheer love of childhood:
+with him they are boys, _fanciulli ignudi_,[141] very human boys,
+which, though winged and stationed on a font, were boys first and
+angels afterwards. And he overcame the immense technical difficulties
+which childhood presents. The model is restive and the form is
+immature, the softness of nature has to be rendered in the hardest
+material. The lines are inconsequent, and the limbs do not yet show
+the muscles on which plastic art can usually depend. Nothing requires
+more deftness than to give elasticity to a form which has no external
+sign of vigour. So many sculptors failed to master this initial
+difficulty--Verrocchio, for instance. He made the bronze fountain in
+the Palazzo Pubblico, and an equally fine statue of similar dimensions
+now belonging to M. Gustave Dreyfus. Both have vivacity and movement,
+but both have also a fat stubby appearance; the flesh has the
+consistency of pudding, and though soft and velvety in surface is
+without the inner meaning of the children on the Cantoria. In this
+work, where Donatello has carved some three dozen children, we have a
+series of instantaneous photographs. Nobody else had enough knowledge
+or courage to make rigid bars of children's legs: here they swing on
+pivots from the hip-joint. It is the true picture of life, rendered
+with superlative skill and _bravura_. But Donatello's children serve a
+purpose, if only that of decoration. At Padua they form a little
+orchestra to accompany the duets. The singing angels there are among
+the most charming of the company; and whether intentionally or not,
+they give the impression of having forgotten the time, or of being a
+little puzzled by the music-book! But Donatello fails to express the
+exquisite modulation by which Luca della Robbia almost gives actual
+sound to his Cantoria: where one sees the swelling throat, the
+inflated lungs, the effort of the higher notes, and the voice falling
+to reach those which are deep. Luca's children, it is true, are bigger
+and older; but in this respect he was unsurpassed, even by painters
+whose medium should have placed them beyond rivalry in such a respect.
+The choir of Piero della Francesca's Nativity is so well contrived
+that one can distinguish the alto from the tenor; but Luca was able to
+do even more. He gives cadence, rhythm and expression where others did
+no more than represent the voice. Donatello's dancing children are
+more important than his musicians. He was able to give free vein to
+his fancy. We have flights of uncontrollable children, romping and
+rioting, dashing to and fro, playing and laughing as they pass about
+garlands among them. And their self-reliance is worth noticing;
+they are absorbed in their dance--children dance rather heavily--and
+only a few of them look outwards. There is no self-consciousness, no
+appeal to the spectator: they are immensely busy, and enjoy life to
+the full. Then we have a more demure type of childhood: they are
+shield-bearers on the Gattamelata monument, or occupy an analogous
+position on the lower part of the Cantoria. Others hold the cartel or
+epitaph as on the Coscia tomb. And again Donatello introduces children
+as pure decoration. The triangular base of the Judith, for instance,
+and the bronze capital which supports the Prato pulpit, have childhood
+for their sole motive. He smuggles children on to the croziers of St.
+Louis and Bishop Pecci: they are the supporters of Gattamelata's
+saddle: they decorate the vestments of San Daniele. They share the
+tragedy of the Pietà, and we have them in his reliefs. The entire
+frieze of the pulpits of San Lorenzo is simply one long row of
+children--some two hundred in all.
+
+[Footnote 141: Contract with Domopera of Siena. Payment for wax, for
+making the bronze figures for the Baptistery. 16, iv. 1428. Lusini,
+38.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+CANTORIA (DETAIL)
+
+FLORENCE]
+
+
+[Sidenote: The Cantoria.]
+
+The Cantoria, or organ-loft, of the Florentine Cathedral was ordered
+soon after Donatello's return from Rome, and was erected about 1441.
+It was placed over one of the Sacristy doors, corresponding in
+position with Luca della Robbia's cantoria on the opposite side of the
+choir. The ill-fortune which dispersed the Paduan altar and
+Donatello's work for the façade likewise caused the removal of this
+gallery. Late in the seventeenth century a royal marriage was
+solemnised, for which an orchestra of unusual numbers was required,
+and the two _cantorie_ were removed as inadequate. The large brackets
+remained _in situ_ for some time, but were afterwards taken away also.
+The two galleries have now been re-erected at either end of the chief
+room of the Opera del Duomo. But the size of the galleries is
+considerable, and they occupy so much of the end walls to which they
+are fixed, that it is impossible to see the sides or outer panels of
+either cantoria. In the case of Luca's gallery, the side panels have
+been replaced by facsimiles, and the originals can be minutely
+examined, being only four or five feet from the ground, and very
+suggestive they are. As the side panels of Donatello's gallery are
+equally invisible in their present position they might also be brought
+down to the eye level. Comparison with Luca's work would then be still
+more simplified. But though in a trying light, and too low down, the
+sculpture shows that it was Donatello who gave the more careful
+attention to the conditions under which the work would be seen. The
+delicacy and grace of Luca's choir make Donatello's boys look coarse
+and rough-hewn. But in the dim Cathedral, where Donatello's children
+would appear bold and vivacious, the others would look insipid and
+weak. Moreover, the lower tier of Luca's panels beneath the projection
+and enclosed by the broad brackets, would have been in such a subdued
+light that some of the heads in low-relief would have been scarcely
+emphasised at all. In reconstructing Donatello's gallery an error has
+been made by which a long band of mosaic runs along the whole length
+of the relief, above the children's heads. M. Reymond has pointed out
+that the ground level should have been raised in order to prevent what
+Donatello would undoubtedly have avoided, namely, a blank and
+meaningless stretch of mosaic.[142] M. Reymond's brilliant
+suggestion about a similar point in regard to the other cantoria, a
+criticism which has been verified in a remarkable manner, entitles his
+suggestion to great weight. The angles of the cantoria where the side
+panels join the main relief lack finish: something like the pilasters
+which cover the angles of the Judith base are required. As for the
+design, the gallery made by Luca della Robbia has an advantage over
+Donatello's in that the figures are not placed behind a row of
+columns. There is something tantalising in the fact that the most
+boisterous and roguish of all the troop is concealed by a pillar of
+spangled white and gold. These pillars were perhaps needed to break
+the long line of the relief: but they have no such significance, as,
+for instance, the row of pillars on the Saltarello tomb,[143] behind
+which the Bishop's effigy lies--a barrier between the living and the
+dead, across which the attendant angels can drop the curtain.
+Donatello's gallery is, perhaps, over-decorated. There is less gilding
+now than formerly, and the complex ornament does not materially
+interfere with the broad features of the design: but a little more
+reserve would not have been amiss.
+
+[Footnote 142: Reymond, I., p. 107.]
+
+[Footnote 143: By Nino Pisano, in Sta. Caterina, Pisa.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+THE PRATO PULPIT]
+
+
+[Sidenote: The Prato Pulpit.]
+
+The second work in which Donatello took his inspiration exclusively
+from childhood is at Prato. It is an external pulpit, fixed at the
+southern angle of the Cathedral façade, and employed to display the
+most famous relic possessed by the town, namely, the girdle of the
+Virgin. The first contract was made as early as 1428 with Donatello
+and Michelozzo, _industriosi maestri_, to whom careful measurements
+were given.[144] The sculptors promised to finish the work by
+September 1, 1429. Five years later, there was still no pulpit, and
+having vainly invoked the aid of Cosimo, they finally sent to Rome,
+where Donatello had by then gone, and a revised contract was made with
+the industrious sculptors, though Michelozzo is not mentioned by
+name.[145] The work was finished in about four years, and within three
+weeks of signing the new contract one of the reliefs was completed; it
+may, of course, have been already begun. Its success was immediate.
+"All say with one accord that never has such a work of art been seen
+before;" and the writer of the entertaining letter from which this
+eulogy is quoted goes on to say that Donatello is of good disposition;
+that such men are not found every day, and that he had better be
+encouraged by a little money.[146] The Prato pulpit has seven marble
+reliefs on mosaic grounds, separated by twin pilasters: there are
+thirty-two children in all.[147] It is a most attractive work,
+cleverly placed against the decorous little Cathedral and not
+surrounded by sculpture of the first order with which to make
+invidious comparisons. But beside the cantoria it is almost
+insignificant. The Prato children dance too, but without the perennial
+spring; they have plenty of movement, but seem apt to stumble. They do
+not scamper along with the feverish enthusiasm of the other children:
+they must get very tired. Moreover, several of the panels are
+confused. They are, of course, crowded, for Donatello liked crowds,
+especially for his children; but his crowds were well marshalled and
+the individual figures which composed them were not allowed to
+suffer by their surroundings anatomically. The Prato children belong
+to a chubby and robust type. They have a tendency to short necks and
+unduly big heads which sink on to the torso. Michelozzo never grasped
+the spirit of childhood; those at Montepulciano were not a success,
+and he was largely responsible for the Prato Pulpit; it has been
+suggested that Simone Ferrucci also assisted. Certainly it would be
+Michelozzo's idea to divide the frieze into compartments, which
+interrupt the continuity of the relief and necessitate fourteen
+terminal points instead of four on the cantoria. We can also detect
+Michelozzo's hand in the rather stiff and professional details of the
+architecture. But he seems to have also executed some of the reliefs,
+even if the general idea from which he worked should have been
+Donatello's. Thus the panel most remote from the cathedral façade is
+involved in design and faulty in execution; and the children's
+expression is aimless and dull. But it must not be inferred that the
+Prato Pulpit is in any sense a failure, or even displeasing. Its
+popularity is thoroughly well deserved. The test of comparison with
+the cantoria is most searching, too severe indeed, for such a high
+standard could not be maintained. But if the _capo d'opera_ of
+sculptured child-life be excluded, the Prato Pulpit will always retain
+a well-deserved popularity. Two further points should be noted. Below
+the pulpit is a bronze relief, shaped like the capital of a large
+column. There should be two of them, and it used to be believed that
+the second was destroyed in 1512 when the Spanish troops sacked the
+town. But the story is apocryphal, for the documents show that payment
+was only made for one relief, and that Michelozzo was entirely
+responsible for the casting. It is a most decorative panel, the
+motive being ribands and wreaths, among which there are eleven winged
+_putti_ of different sizes. At the top of the capital is a big baby in
+high-relief peeping over the edge; an exquisite fancy reminding us of
+the two inquisitive children clambering over the heraldic shields on
+the Pecci monument. On the base of the capital are two other _putti_
+of equal charm, winged like the rest, and sedately looking outwards in
+either direction. The volutes of the bronze are decorated with other
+figures, less boyish and almost suggesting the touch of Ghiberti, who,
+it may be remarked, was appointed assessor of the contract by the
+Wardens of the Girdle. Finally, one may inquire what Donatello's
+motive can have been in designing the frieze: what may be the relation
+of the sculpture to the precious Girdle. No conclusive answer can be
+given. In the organ-loft of Luca della Robbia the object was to show
+praise of the Lord "with all kinds of instruments"[148]: Donatello's
+was to "let them praise his name in the dance."[149] At Prato we have
+dance and music for no apparent reason, except perhaps as a display of
+joyfulness appropriate to the great festival of exhibiting the
+_Cingolo_. It is possible that the curious little reliquary in which
+the Girdle is actually preserved may supply the clue to some legend or
+tradition connected with the relic. This _cofanetto_ was remodelled
+about this time, and the primitive motive and design may have been
+impaired. But we have a series of winged _putti_ made of ivory, who
+dance and play about much as those on the pulpit, but amongst whom one
+can see scraps of rope, signifying the Girdle, from which they derive
+their incentive to joy and vivacity.
+
+[Footnote 144: 14, vii. 1428.]
+
+[Footnote 145: 27, v. 1434.]
+
+[Footnote 146: Letter from Matteo degli Orghani, printed with the
+other documents in C. Guasti, opere, iv. 463-477.]
+
+[Footnote 147: A pair of terra-cotta variants of these panels are
+preserved in the Wallace Collection at Hertford House.]
+
+[Footnote 148: Psalm cl.]
+
+[Footnote 149: Psalm cxlix.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+BRONZE AMORINO
+
+BARGELLO]
+
+
+[Sidenote: Other Children by Donatello.]
+
+There are six _putti_ above the Annunciation in Santa Croce. They are
+made of terra-cotta, while the rest of the work is in stone, and
+designed in such a way that the children are superfluous. They are,
+however, undoubtedly by Donatello, and may have been added as an
+afterthought. Two stand on either side of the curved tympanum,
+clinging to each other as they look downwards, and afraid of falling
+over the steep precipice. Their attitude is shy and timid, as Leonardo
+said was advisable when making little children standing still.[150]
+Though unnecessary, their presence on the relief is justified by
+Donatello's skill and humour. In the great reliefs at Padua, Siena and
+Lille he introduces them without any specific object, though he
+contrives that they shall show fear or surprise in response to the
+incident portrayed. It is puzzling to know what the bronze boy in the
+Bargello should be called. Perseus, Mercury, Cupid, Allegory and
+Amorino have been suggested: he combines attributes of them all
+together with the budding tail of a faun, and the _gambali_, the
+buskin-trouser of the Tuscan peasant[151]--"_vestito in un certo modo
+bizzarro_" as Vasari says. Cinelli thought it classical, and it
+resembles an undoubted antique in the Louvre. Donatello has clearly
+taken classical motives; the winged feet and the serpents twining
+between them are not Renaissance in form or idea. But the statue
+itself is closely akin to the Cantoria children, but being in bronze
+shows a higher polish, and, moreover, is treated in a less summary
+fashion. It is a brilliant piece of bronze: colour, cast and
+chiselling are alike admirable, and there is a vibration in the
+movement as the saucy little fellow looks up laughing, having
+presumably just shot off an arrow; or possibly he has been twanging a
+wire drawn tightly between the fingers. It throws much light on the
+bronze boys at Padua made ten or fifteen years later. This Florentine
+boy shows how completely Donatello, perhaps with the assistance of a
+caster, could render his meaning in bronze. In two or three cases at
+Padua the work is clumsy and slipshod, showing how he allowed his
+assistants to take liberties which he would never have countenanced in
+work finished by his own hands. The Bargello has another Amorino of
+bronze, a nude winged boy standing on a cockleshell, and just about to
+fly away; quite a pleasing statuette, and executed with skill except
+as regards the extremities of the fingers, where the bronze has
+failed. It resembles Donatello's _putti_ who play and dance on the
+corners of the tabernacle of Quercia's font at Siena; but the base of
+this figure differs from that of the other four. A fifth of the
+Sienese _putti_ was recently bought in London for the Berlin Gallery,
+an invaluable acquisition to that growing collection.[152] This group,
+however, is less important than the wonderful pair of bronze _putti_
+belonging to Madame André.[153] These are much larger: they carry
+candle-sockets and are lightly draped with a few ribands and garlands:
+judging from the way they are huddled up, it is possible that they
+formed part of a larger work. They appear to be a good deal later than
+the Cantoria, though they do not show any technical superiority to
+the large Bargello Amorino; but they have not quite got that freshness
+which cannot be dissociated from work made between 1433 and 1440.
+Madame André has another superb Donatello--a marble boy: his attitude
+is unbecoming, but the modelling of this admirable statue--the urchin
+is nearly life-sized--is almost unequalled. There is a similar figure
+in the Louvre made by some imitator. It need hardly be said that
+Donatello's children, especially the free-standing bronze statuettes,
+were widely copied. According to Vasari, Donatello designed the wooden
+_putti_ carrying garlands in the new Sacristy of the Duomo. There are
+fourteen of these boys, and they overstep the cornice like
+Michelozzo's angels in the Capella Portinari at Milan. Donatello may
+have given the sketch for one or two, but there is a lack of
+intelligence about them, besides a certain monotony. Moreover, it is
+improbable that Donatello would have designed garlands so bulky that
+they threaten to push the little boys who carry them off the cornice.
+In spite of its faults, this frieze is charming. The _naïveté_ of the
+quattrocento often invests its errors with attraction. It would be
+wearisome to catalogue the scores of bronze children which show
+undoubted imitation of Donatello. They exist in every great
+collection, one of exceptional merit being in London.[154] A large
+school sprang into existence, chiefly in Padua and Venice, whence it
+spread all over Northern Italy, and produced any number of bronze
+works which recall one or other feature of Donatello's children. But
+they never approached Donatello. Their work was a sort of
+_minuteria_--table ornaments, plaquettes, inkstands, and the ordinary
+decoration of a sitting-room. Monumental childhood almost ceased to
+exist in Italian plastic art, and, after Michael Angelo, degenerated
+into stout and prosperous children lolling in clouds and diving among
+the draperies which adorned the later altars and tombs. Their didactic
+value was soon lost to Italian sculpture, and with it went their
+inherent grace and significance. Donatello was among the first as he
+was among the last seriously to apply to sculpture the words _ex ore
+infantium perfecisti laudem_.
+
+[Footnote 150: "Trattato della Pintura," Richter, i. 291.]
+
+[Footnote 151: This open form of trouser, of which one sees a variant
+on the Martelli David, was also classical. The Athis or Phrygian
+shepherd usually wears something of the kind.]
+
+[Footnote 152: Very similar classical types are in the British Museum,
+No. 1147; and the Eros springing forward in the Forman Collection
+(dispersed in 1899) is almost identical.]
+
+[Footnote 153: From the Piot Collection. Figured in "Gaz. des Beaux
+Arts," 1890, iii. 410.]
+
+[Footnote 154: Victoria and Albert Museum, No. 475, 1864. A winged boy
+carrying a dolphin.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SAN GIOVANNINO
+
+FAENZA MUSEUM]
+
+
+[Sidenote: Boys' Busts.]
+
+It is inexplicable that modern criticism should withdraw from
+Donatello all the free-standing or portrait-busts of boys, while going
+to the opposite extreme in ascribing to him an enormous number of
+Madonnas. We know that Donatello was passionately fond of carving
+children on his reliefs: we also know that only two versions of the
+Madonna can be really authenticated as his work. Why should Donatello
+have made no busts of boys when it is not denied that he was
+responsible for something like one hundred boys in full-length; and
+how does it come about that scores of Madonnas should be attributed to
+him when we only have the record of a few? There can be no doubt that
+Donatello would not have rested content with children in relief or in
+miniature. The very preparation of his numerous works in this category
+must have led him to make busts as well, quite apart from his own
+inclinations. The stylistic method of argument should not be abused:
+if driven to a strict and logical conclusion it becomes misleading. It
+ignores the human element in the artist. It pays no attention to his
+desire to vary the nature of his work or to make experiments. It
+eliminates the likelihood of forms which differ from the customary
+type, and it makes no allowance for possibilities or probabilities,
+least of all for mistakes. It is purely on stylistic grounds that each
+bust connected with Donatello's name has been withdrawn from the list
+of his works. A fashion had grown up to ascribe to Donatello all that
+delightful group of marble busts now scattered over Europe. Numbers
+were obviously the work of competent but later men: Rossellino,
+Desiderio, Mino da Fiesole, and so forth. There remain others which
+are more doubtful, but which in one detail or another are alleged to
+be un-Donatellesque, and have therefore been fearlessly attributed to
+other sculptors from whose authenticated work they often dissent.
+That, however, was immaterial, the primary object being to disinherit
+Donatello without much thought as to his lawful successor in title. A
+critical discrimination between these busts was an admitted need;
+everything of the kind had been conventionally ascribed to Donatello
+just as Luca della Robbia was held responsible for every bit of glazed
+terra-cotta. These ascriptions to the most fashionable and lucrative
+names had become conventional, and had to be destroyed. Invaluable
+service has been rendered by reducing the number given to Donatello
+and adding to the number properly ascribed to others. But the process
+has gone too far. The difficulties are, of course, great, and
+stylistic data offer the only starting-point; but as these data are
+readily found by comparison with Donatello's accepted work, it ought
+to be possible, on the fair and natural assumption that Donatello may
+well have made such busts, to determine the authenticity of a certain
+proportion. In any case, it would be less difficult to prove that
+Donatello did, than that he did not make statues of this description.
+Among the busts of very young boys which cannot be assigned to
+Donatello are those belonging to Herr Benda in Vienna, and to M.G.
+Dreyfus in Paris. Nothing can exceed their softness and delicacy of
+modelling, and they are among the most winning statuettes in the
+world. They were frequently copied by Desiderio and his _entourage_.
+One of the little heads in the Vanchettoni Chapel at Florence is
+likewise animated by a similar exemplar. There is something girlish
+about them, a pursuit of prettiness which is no doubt the source of
+their singular attraction, and which invests them with an irresistible
+charm. The San Giovannino, also in the Vanchettoni, is a more concrete
+version of childhood, but is by the same hand as its fellow. These
+four busts fail to characterise the child's head; not indeed that
+characterisation was needed to make an enchanting work, but that
+Donatello's children elsewhere show more of the individual touches of
+the master and personal notes of the child. The Duke of Westminster
+possesses a life-sized head of a boy,[155] which is palpably by
+Donatello, though no document exists to prove it. We have all the
+essentials of Donatello's modelling; the handling is uncompromising
+and firm; the child is treated more like a portrait. Indeed, many of
+these children's busts, even when symbolised by St. John's rough
+tunic, were avowed portraits--the Martelli San Giovannino, for
+instance, which from Vasari's time has been ascribed, and probably
+with justice, to Donatello. This little head enjoys a reputation which
+it scarcely deserves. The expression is dull, the hair grows so low
+that scarcely any forehead is visible; the cheeks bulge out, and
+the mouth is too small. We have, in fact, a lifelike presentment of
+some boy, perhaps of the Martelli family, showing him at his least
+prepossessing moment, when the bloom of childhood has passed away, and
+before the lines have been fined down and merged into the stronger
+contours of youth. Desiderio would have improved Nature by modifying
+the boy's features, and we should have had a work comparable to those
+previously mentioned. But Donatello (and perhaps his patrons)
+preferred a less idealised version. The Martelli figure, and a most
+important boy's bust belonging to Frau Hainauer in Berlin, are now
+usually ascribed to Rossellino. But his St. John in the Bargello,
+where all the features are softened down, and his authenticated work
+in San Miniato and elsewhere, make the attribution open to question.
+The St. John at Faenza is also denied to be by Donatello; one of the
+critics who is quite certain on the point believes the bust to be made
+of wood! These problems cannot be settled by spending ten _lire_ on
+photographs. The bust at Faenza,[156] though a faithful portrait, is
+one of the most romantic specimens of childhood depicted by Donatello.
+Admirably modelled, and with a surface like ivory, it gives the
+intimate characteristics of the model. Nothing has been embellished or
+suppressed, if we may judge from the absolute sequence and
+correspondence of all the features. The flat head, the projecting
+mouth, and the much-curved nose, are sure signs of accurate and
+painstaking observation; they combine to give it a personal note which
+adds much to its abstract merits. The St. John in the Louvre[157] is
+also a portrait, but of an older boy, in whom the first signs of
+maturity are faintly indicated: lines on the forehead, a stronger
+neck, and a harder accentuation of nose and mouth. But he is still a
+boy, though he will soon go forth into the wilderness. By the side of
+the Faenza Giovannino he would appear rough; beside the Vienna and
+Dreyfus statuettes he would be harsh and unsympathetic. He has no
+smiling countenance, no fascinating twinkle of the eye: the type has
+not been generalised as in Desiderio's work, and it therefore lacks
+those qualities, the very absence of which makes it most
+Donatellesque. The fundamental distinction between Donatello and the
+later masters can be emphasised by comparing this bust with another
+group of terra-cotta heads, which are analogous, although the boy in
+them is older. One in the Berlin Gallery[158] has been painted, and no
+final judgment can be passed until the more recent accretions of
+oil-colour have been removed. But the whole conception is weakly and
+vapid. The brown eyes, the nicely rouged cheeks, the mincing look, and
+the affectation of the pose make a genteel page-boy of him, and all
+suggest a later imitation--about 1470 perhaps--and contemporary with
+the somewhat analogous though better rendering in the Louvre.[159] The
+version belonging to M. Dreyfus differs in certain details from the
+Berlin bust, and it has been fortunate in escaping careless painting;
+it has more vigour and virility. One remark may be made about the
+Faenza, Grosvenor House, Martelli, Hainauer and Louvre busts: they all
+show a peculiarity in the treatment of the hair. It is bunched
+together and drawn back from behind the ears, and is gathered on the
+nape of the neck, down which it seems to curl. This is precisely the
+treatment observed in the Mandorla relief, the Martelli David, the
+young Gattamelata, and the Amorino in the Bargello: in a lesser degree
+it is observable in the Isaac and the Siena Virtues. The point is not
+one upon which stress could properly be laid, but it is a further
+point of contact between Donatello's accepted work and some few out of
+the numerous boys' busts which he must inevitably have made.
+
+[Footnote 155: In Grosvenor House. Bronze; generally known as "The
+Laughing Boy."]
+
+[Footnote 156: Its proportion is impaired by the basal drapery, which
+was grafted to the statue at a later date. This bust belonged to Sabba
+da Castiglione, who was very proud of it. He was born within twenty
+years of Donatello's death.]
+
+[Footnote 157: No. 383. Marble. Goupil Bequest.]
+
+[Footnote 158: Stucco, No. 38A. _Cf._ also one belonging to
+Herr Richard von Kaufmann, Berlin.]
+
+[Footnote 159: No. 1274, St. John, Florentine School, a painting.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+NICCOLÒ DA UZZANO
+
+BARGELLO, FLORENCE]
+
+
+[Sidenote: Niccolò da Uzzano and Polychromacy.]
+
+The bust of Niccolò da Uzzano has gained its widespread popularity
+from its least genuine feature--namely, the paint with which it is
+disfigured. The daubs of colour give it a fictitious importance, an
+actual realism which invests it with the illusion of living flesh and
+blood. This is all the more unfortunate, as the bust is a remarkable
+work, and does not gain by being made into a "speaking likeness." Its
+merits can best be appreciated in a cast, where the form is reproduced
+without the dubious embellishments of later times. Niccolò was a
+high-minded patrician, an implacable opponent of the Medici, and a
+warm friend of higher education: it is also of interest that he should
+have been an executor of the will of John XXIII. He was born in 1359,
+and died in 1432. The bust is made of terra-cotta, and shows a man of
+sixty-five or so, and would therefore be coeval with the later
+Campanile prophets (but nothing beyond old tradition can be accepted
+as authority for the nomenclature). The modelling of the head is quite
+masterly. Niccolò is looking rather to the left; his keen and
+hawklike countenance, and his piercing eyes, deep set and quivering
+within pendulous eyelids, give a sense of invincible logic and
+penetration. The laconic, matter-of-fact mouth, and the resolute jaw
+add strength and courage to the physiognomy: the nose and its
+disdainful nostrils are those of the haughty optimate. The head is,
+however, less fine than the face: a skull of rather common
+proportions, and a sloping though broad forehead are its marked
+features. Donatello has given him an ugly ear; Niccolò's ear was,
+therefore, ugly, and the throat is swollen. The shoulders are covered
+with a thick piece of drapery, leaving the throat and upper part of
+the breast bare. Such is the impression conveyed by Niccolò in the
+cast. In the Bargello the colouring modifies what the form itself was
+meant to suggest. The smallest error of a paint-brush, the slightest
+deepening of a pigment, are quite sufficient to make radical
+alterations in the sentiment of a statue. When applied to plastic art,
+colour is potent enough to change the essential purpose of the
+sculptor. The chief reason why the terra-cotta bust of St. John at
+Berlin looks flippant and fastidious is, that the painter was
+indiscreet in drawing the eyebrows and lips: owing to his
+carelessness, they do not coincide with the features indicated by the
+modeller, and the entire character of the boy is consequently changed.
+The question of polychromacy in Donatello's sculpture is of great
+importance, and requires some notice. It is no longer denied that
+classical statues were frequently coloured. The Parthenon frieze and
+many celebrated monuments of antiquity were picked out with colour.
+Others received some kind of polish, _circumlitio_,--like the dark
+varnish which is on the face of the Coscia effigy. Again, the use
+of ivory, precious stones, and metal was common. The lips and eyeballs
+were frequently overlaid by thin slabs of silver.[160] The origin of
+polychromacy, doubtless, dates back to the most remote ages. It was
+first needed to conceal imperfections, and to supply what the carver
+felt his inability to render. It connotes insufficiency in the form.
+The sculptor, of all people, ought to be able to see colour in the
+uncoloured stone: he ought to realise its warmth, texture and shades.
+Nobody has any right to complain that a statue is uncoloured: the
+substance and quality of the marble is in itself pleasing, but
+relative truth is all that is required in a portrait-bust. If one
+wants to know the colour of a man's eye, or the precise tint of his
+complexion, the painter's art should be invoked, but only where its
+gradations and subtleties can be fully rendered--on the canvas.
+Polychromacy is a mixture of two arts: it is one art trying to steal a
+march upon another art by producing illusion. That is why the
+pantaloon paints his face, and why the audience laughs: the spirit
+which tolerates painted statues ends by adorning them with necklaces.
+Donatello, whose sense of light and shade was acutely developed, least
+required the adventitious aid of colour. Polychromacy was to a certain
+extent justified on terra-cotta, to soften the toneless colour of the
+clay, and on wood it served a purpose in hiding the cracks of a
+brittle substance. Nowadays it is happily no more than a _refugium
+peccatorum_. There is, however, no doubt that in Donatello's day it
+was widely used, and used by Donatello himself. It began in actual
+need, then became a convention, and long survived: _il n'y a rien de
+plus respectable qu'un ancien abus_. During the fifteenth century
+statues were coloured during the highest proficiency of sculpture:
+buildings were painted,[161] and bronze was habitually gilded.
+Donatello's Coscia, and his work at Siena and Padua, still show signs
+of it. The St. Mark was coloured, and the Cantoria was much more
+brilliant with gold than it is now. The St. Luke, which was removed
+from Or San Michele,[162] has long been protected from the weather,
+and still shows traces of a rich brocade decorated with coloured
+lines. The Christ of Piero Tedesco on the façade of the Cathedral had
+glass eyes. Roland and Oliver, two wonderful creations on the façade
+of the Cathedral at Verona, had blue enamel eyes. The Apostles in the
+Church of San Zeno, in the same city, are exceptionally interesting,
+being one of the rare cases where the genuine colouring is visible,
+although it has been much worn. The early colourists used
+tempera;[163] as this perished, oil paint was substituted, and there
+are very few painted statues extant on which restoration has never
+taken place, and consequently where the original colour of the
+sculptor is intact. With repainting, the original artist disappears:
+even if the work is cast, the delicate tints of the first colouring
+must be impaired, and repainting follows. Thus the Niccolò da Uzzano
+is covered with inferior oil colour, and only in a few details can the
+primitive tempera be detected. The later addition creates the
+fictitious interest, and immensely reduces the real importance of this
+masterly production.
+
+[Footnote 160: _Cf._ Naples Museum, No. 5592.]
+
+[Footnote 161: _Cf._ drawings of façades in Vettorio Ghiberti's
+Note-book.]
+
+[Footnote 162: Bargello Cortile, No. 3, by Niccolo di Piero.]
+
+[Footnote 163: Borghini, in 1586, gave a curious recipe for colouring
+marble according to antique rules. Florentine ed. 1730, p. 123.]
+
+       *       *       *       *       *
+
+[Sidenote: Portrait-busts.]
+
+It is a singular fact admitting of no ready explanation that
+portrait-busts, so common in Tuscany, should scarcely have existed in
+Venice. Florence was their native home. From the time of Donatello
+every sculptor of note was responsible for one or more, while certain
+artists made it a regular occupation. Luca della Robbia, however, one
+of the most consummate sculptors of his day, made no portrait except
+the effigy of Bishop Federighi. There are one or two small heads in
+the Bargello, but they scarcely come within the category of studied
+portraits, while the heads on the bronze doors of the Duomo, though
+modelled from living people, are small and purely decorative in
+purpose. Glazed terra-cotta was a material so admirably adapted to
+showing the refinements of feature and character, as we can see in
+both Luca's and Andrea's work, that this absence is all the more
+surprising. At the same time, numerous as portrait-statues were in
+Tuscany, they do not compare in numbers with those executed in
+classical times. In the fifteenth century the statue was a work of
+art, and its actual carving was an integral part of the art: so the
+replica in sculpture was rare. But under the Roman Empire statues of
+the same man were erected in scores and hundreds in the same city;
+their multiplication became a profession in itself, and a large class
+of artisans must have grown up, eternally copying and recopying
+portrait-busts and giving them the haunting dulness of mechanical
+reproductions. The artist himself was more interested in the torso
+than the head; some artists came to be regarded as specialists in
+their own lines; Calcosthenes for instance, who made athletes, and
+Apollodorus, who made philosophers. Donatello made several
+portrait-busts, and two or three others, such as the head of St.
+Laurence, and the so-called St. Cecilia in London, which are portraits
+in all essentials. These two are idealised heads, both made late in
+life, judging from a certain sketchiness, in no way detracting from
+their sterling qualities, but indicative of Donatello's fluency as an
+oldish man. Both are in terra-cotta. The St. Laurence is placed on the
+top of one of the great chests in the Sacristy of San Lorenzo, too
+high above the eye-level.[164] It has no connection with the
+decorative work carried out there by the master, and it is difficult
+to see how it could have been meant to fit in with the altar. However,
+the authorship of Donatello is beyond question. St. Laurence is almost
+a boy, wearing his deacon's vestments. His head is raised up as if he
+had just heard something and were about to reply. The eager and
+inquiring look is most happily shown. The sentiment of this bust is
+quite out of the common; it has an engaging expression which is rare
+in the sculpture of all ages, differing from what is called animation
+or vivacity. These also may be found in the St. Laurence, where the
+exact but indescribable movement of the face as he is about to speak
+is rendered with immense skill. The bust, though modelled with a free
+hand, is not carelessly executed; everything is in concord, and the
+treatment of the clay shows exceptional dexterity, more so, at any
+rate, than is the case in the St. Cecilia.[165] The name given to this
+bust is traditional, there being no symbol to connect it with her; but
+it suggests at least that the work was not meant purely as a portrait.
+In technique and conception it is not quite equal to the St.
+Laurence, but it is none the less a work of rare merit, and being
+Donatello's only clay portrait in this country has a special value to
+us. The Saint looks downwards, pensive, quiet and modest, the
+embodiment of tranquillity and calm. There is no movement or effort
+about her, neither does the work show any effort on the part of the
+sculptor. It is equable in a very marked degree; the smooth regular
+features are simple and well defined, and the hair, brushed back from
+the forehead, has a softness which could scarcely be obtained in
+marble. The bust known as Louis III. of Gonzaga is interesting in
+another way: it is bronze and has been left in an unfinished state.
+Two versions of it exist--one in Berlin, the other in Paris, belonging
+to Madame André, the latter being perhaps the less ugly of the two. It
+used to be known as Alfonso of Naples, on the assumption that
+Donatello must surely have made a bust of that prince. This theory,
+however, had to be abandoned, and it is now held to be a portrait of
+the Gonzaga as being a closer resemblance to him than to Alfonso, or
+Giovanni Tornabuoni. Mantegna's portrait of Gonzaga, though made
+later, shows a rather different type, less displeasing than the
+bronze. In the bust we have what is probably the portrait of a coarse
+and clumsy person; he is petulant in the mouth, weak in the chin,
+gross in the thick and heavy jaw. The bronze is extremely rough, and
+shows no signs of the nervous and individual touches which we find in
+Donatello's terra-cotta. Both the busts are unfinished; in the absence
+of chasing and hammering they are covered with bubbles and splotches
+of metal. They have, therefore, not passed through the hands of
+assistants, except so far as the actual casting of the bronze was
+concerned. During the process of casting the refinements of a clay
+model would often be impaired, but this shows no sign of having been
+made from an original of merit. The man is ugly, it is true; but the
+broad expanse of his lifeless cheek and the bulbous forehead would in
+real life have been explained and justified by bone and muscle, which
+the sculptor would have rendered in his clay study. The ugliness of
+the man, however, is unrelated to the qualities of the bust. Nobody
+could make the likeness of an ugly man better than Donatello; and
+since the faults of this portrait lie more in the modelling than in
+the sitter, one is driven to conclude that the bust must be entirely
+the work of an assistant, or else a failure of the master.
+
+[Footnote 164: It used to be over one of the doors, preserved _in una
+custodia_ which Richa thought ought to have been made of crystal, so
+precious was the bust.--"Ch. Fiorentine," 1758, v. 39.]
+
+[Footnote 165: Victoria and Albert Museum, No. 7585, 1861.]
+
+An effective counterpart to this bust exists in Berlin. It is also a
+life-sized bronze of an older man, and in many ways the likeness to
+the Gonzaga bust is notable. But wherever Gonzaga's features lack
+distinction this portrait shows fine qualities and good breeding.
+Nothing could better illustrate how minute are the plastic details
+which will revolutionise a countenance; how easily noble and handsome
+features can degenerate into what is sordid and vulgar. In this bust
+the chin, though receding, is far from weak; the lips are full but not
+sensual; the nose has the faint aquiline curve of distinction. There
+is benevolence in the eyes, meditation in the brow, dignity and
+reserve throughout the physiognomy: it is the portrait of a man who
+may be great, but who must be good. When a bronze _abozzo_ has to be
+finished the detail is added by hammering the metal, or incising it
+with gravers. Thus the bronze has to be reduced, it being seldom
+possible to enlarge it at any point. But the Gonzaga bust would
+require to be enlarged in several places to make it a lifelike head.
+In the case of the portrait just described, the metal was cast from a
+rough sketch which, in the first place, had the qualities of a living
+and consistent head, and which, in the second place, was modelled with
+sufficient amplitude to permit the entire head to be hammered, and the
+exquisite details to be added. Technically this head is almost
+unequalled among Donatello's bronze portraits; it is quite superb.
+Comparison with the Gattamelata at Padua is fair to neither. But it
+can be suitably compared with the bronze portrait in the Bargello
+generally known as the Young Gattamelata. The tomb of Giovanni
+Antonio, son of the famous Condottiere, is in the Santo at Padua. The
+effigy resembles this bust. Giovanni died young in 1456, and on the
+whole there is sufficient reason for considering it to be his
+portrait. On this assumption the bust can be dated about 1455. It is a
+happy combination of youth and maturity. On the one side we have the
+smooth features, still unmarked by frowns and furrows, the soft
+youthful texture of the skin, and something young in the thick curly
+hair. On the other hand, the character of the face shows perfect
+self-confidence in its best sense, as well as self-control and
+determination. A scrap of drapery covers the outer edge of either
+shoulder, and round his neck is a riband, at the end of which hangs a
+large oval gem, Cupid in a chariot making his horses gallop. Thus the
+throat and breast are bare, and show exceptionally good rendering of
+those thin bones and thick tendons which must always be a severe test
+to the modeller. As for the bronze itself, the surface is wrought with
+much care and finish, though the Berlin bust is unapproached in this
+respect. A few other portrait-busts remain to be noticed, which at
+one time or another have been attributed to Donatello. The Vecchio
+Barbuto, a thoroughly poor piece of work, and the Imperatore
+Romano[166] with its sadly disjointed and inconsequential appearance,
+are works which scarcely recall the touch of Donatello. The bust of a
+veiled lady is more interesting.[167] In the old Medici catalogue it
+used to be called _Donna velata incognita_, or _sacerdotessa velata_:
+and it was also called Annalena Malatesta: a suggestion has been
+recently made that it represents the Contessina de' Bardi, who married
+Cosimo de' Medici. Vasari certainly mentions a bronze bust of the
+Contessina by Donatello; but the family records would scarcely have
+called so important a person a nun or an _incognita_: moreover, she
+did not die till 1473, and as this bust is obviously made from a
+death-mask, it is clear that Donatello could not be its author. The
+custom of making death-masks is described by Polybius: in Donatello's
+time it became very popular, and Verrocchio became one of the foremost
+men in this branch of trade, which combined expedition and accuracy
+with cheapness. The wax models were coloured and used as chimney-piece
+decorations, _in ogni casa di Firenze_. The bronze bust of San Rossore
+in the Church of Santo Stefano at Pisa has been attributed to
+Donatello. From the _denunzia_ of 1427 we know that Donatello was
+occupied on a bust of the saint, and certain payments are
+recorded.[168] But beyond this fact there is no reason for assigning
+the Pisa bust to him. No explanation is offered of its removal from
+Florence to Pisa, and had we not known that Donatello made such a
+bust, this uncouth and slovenly thing would never have been ascribed
+to him. It is a reliquary, the crown of the head being detachable,
+and the head can also be separated from the bust. It is heavily gilded
+and minutely chased with the trivial work of some meagre craftsman;
+the eyes seem to have been enamelled. It is merely interesting as a
+school-piece. Speaking generally, Donatello's portraits are less
+important as busts than when they are portions of complete statues.
+Excluding Niccolò da Uzzano and the old man at Berlin, the heads he
+made cannot compare with the portraits of John XXIII., Brancacci,
+Habbakuk and St. Francis at Padua. Donatello helped to lay the
+foundations of the tremendous school of portraiture which flourished
+after his death, both in sculpture and painting; based, in certain
+parts of Italy, on the principles he had laid down, though thriving
+elsewhere upon independent lines; such, for instance, as the
+remarkable group of portraits ascribed to Laurana or Gagini. But at
+his best Donatello rarely approached the comprehensive powers of
+Michael Angelo. With the latter we see the whole corpus or entity made
+the vehicle of portraiture; everything is forced to combine, and to
+concentrate the [Greek: êthos] of the conception; everything is driven
+into harmony. Michael Angelo gives a portrait which is also typical,
+while preserving the real. Donatello seldom got beyond the real; but
+he went far towards realising the highest forms of portraiture, and
+two or three of his works, though differing in standard from the
+Brutus or the Penseroso, surpass anything achieved by his
+contemporaries.
+
+[Footnote 166: Bargello, No. 18, and No. 6, life-sized bronze.]
+
+[Footnote 167: Bargello, 17.]
+
+[Footnote 168: Gaye, i. 121.]
+
+       *       *       *       *       *
+
+[Sidenote: Relief-portraits.]
+
+A few portraits in relief require a word of notice. As a rule they are
+later in date, though they are often given to Donatello. It became
+fashionable to have one's portrait made as a Roman celebrity: an
+Antonine for instance; a Galba or a Faustina; or as some statesman,
+like Scipio or Cæsar. Donatello was not responsible for these
+portraits, though several have been attributed to him. But he made one
+or two such reliefs, such as the little St. John in the Bargello which
+has already been described. The oval-topped portrait in the same
+collection, made of pietra serena--a clean-shaved man with longish
+hair and an aquiline nose, is wrongly ascribed to Donatello. There is
+a much more interesting portrait, two copies of which exist; one is in
+London, the other in Milan.[169] It is a relief-portrait of a woman in
+profile to the right; her neck and breast are bare, treated similarly
+to the magnificent bust in the Bargello (177). The two reliefs, of
+which the Milan copy is oval, while ours is rectangular with a
+circular top, are modelled with brilliant and exquisite _morbidezza_:
+the undercutting is square, so that the shadows assert themselves; the
+wavy hair is brushed back and retained by a fillet, leaving the neck
+and temples quite free. In many ways it is the marble version of those
+portraits attributed to Piero della Francesca in the National
+Gallery[170] and elsewhere, but treated so that while the painting is
+curious the marble is beautiful. These reliefs cannot be traced to
+Donatello, though they show his style and influence in several
+particulars. Madame André has a marble relief of an open-mouthed boy
+crowned with laurels, and with ribands waving behind. It is very close
+to the Piot St. John in the Louvre, and analogous in some respects to
+two other reliefs of great interest, both in Paris, belonging
+respectively to La Marquise Arconati-Visconti and to M. Gustave
+Dreyfus. These are marble reliefs of St. John and Christ facing each
+other, exquisite in their childhood. The former is round, the latter
+square. It is usual to ascribe them to Desiderio, and there are
+details which lead one to agree on the point. They show, however, that
+Donatello's influence was strong enough to survive his death in
+particulars which later men might well have ignored. And the two
+reliefs combine the strength of Donatello with the sweetness of
+Desiderio.
+
+[Footnote 169: Victoria and Albert Museum, No. 923, 1900, and Museo
+Archeologico, No. 1681, both marble.]
+
+[Footnote 170: Nos. 585 and 758.]
+
+       *       *       *       *       *
+
+[Sidenote: San Lorenzo.]
+
+Donatello must have completed the most important decorative work in
+the Sacristy of San Lorenzo by 1443. Brunellesco was the architect,
+and there were differences between them as to their respective spheres
+of work. Donatello made the bronze doors, a pair of large reliefs,
+four large circular medallions of the Evangelists, as well as four
+others of scenes from the life of St. John the Evangelist. Excluding
+the doors, everything is made of terra-cotta. The reliefs over the
+inner doors of the Sacristy represent St. Stephen and St. Laurence on
+one side, and St. Cosmo and St. Damian on the other. They are nearly
+life size, modelled in rather low-relief upon panels with circular
+tops, and of exceptional size for works in terra-cotta. The reliefs
+are enclosed in Donatello's framework of latish Renaissance design,
+but the figures themselves are very simple. There is a minimum of
+ornament, and they harmonise with the remarkable scheme of the bronze
+doors below them, with which they have so many points in common. The
+ceiling of the chapel has been repeatedly whitewashed, and the eight
+medallions are consequently blurred in surface and outline. It is a
+real misfortune, for, so far as one can judge, they contain
+compositions and designs of great interest, by which a new light would
+probably be thrown upon several doubtful problems were it possible to
+study them with precision. Criticism must therefore be guarded, and
+their position is such as to make examination difficult. The Roundels
+of the Evangelists are modelled with boldness and severity, qualities
+which one is not surprised to find in Donatello, but which are here
+emphasised, for they stand out in spite of the coats of whitewash. In
+some ways they resemble the Evangelists of the Capella Pazzi. Here one
+notices a delicacy of decoration on the seats, desks, &c., contrasting
+with the rugged grandeur of the figures themselves, and with the
+absence of ornament, which is so marked a feature of the other reliefs
+in the Sacristy. The four scenes from the life of St. John (Vasari
+says from the lives of the Evangelists) are even more interesting than
+the panels just mentioned. It appears from the few words Vasari
+devotes to the Sacristy that Donatello also painted views upon the
+ceiling, but no trace remains. The incidents depicted in the roundels
+are St. John's Apotheosis, Martyrdom, and Sojourn on Patmos, and the
+Raising of Drusiana. There are landscapes and architectural
+backgrounds; many figures are introduced, and there is a good deal of
+nude study. We also notice a feature of frequent occurrence--a trick
+of giving depth to the scene and vividness to the foreground, by
+letting figures be cut off short by the frames. Men seem to be
+standing on the spectator's side of the relief, and only appear at the
+point where they can be partly included in the composition. The field
+becomes one that would be included within the range of vision as seen
+through a round window or telescope. Mantegna made great use of this
+idea. The more one looks at these eight medallions the more one
+regrets their present condition: washing is all that is required. If
+they could be carefully cleaned we would certainly find details of
+interest, and in all probability facts of importance. The frieze of
+angels' heads which surrounds the Sacristy is of secondary interest,
+as there are only two different cherubs, which are reproduced by
+moulds all along its entire length. Signs of gilding and colour are
+still visible. Pretty as they are, these angels cannot challenge
+comparison with the Pazzi frieze or with Donatello's similar work
+elsewhere--for instance, on the base of the Cantoria or upon the Or
+San Michele niche. The marble balustrade of the altar may have been
+designed by Donatello. The Sacristy shows how well adapted terra-cotta
+was for decoration on a large scale. But Donatello was too wise to
+cover the walls with his reliefs, as is the case in the Capella
+Pellegrini at Verona. Here the sculpture is used to decorate the
+chapel walls, there the walls are merely used to uphold the sculpture.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+BRONZE DOORS
+
+SAN LORENZO, FLORENCE]
+
+
+[Sidenote: The Bronze Doors.]
+
+There is no more instructive study than the bronze doors of Italian
+churches. They are the earliest specimens of bronze casting to be
+found in Italy of Christian times; they show the gradual transition
+from Eastern to Western forms of art, and they were usually made by
+the most prominent sculptor of the day. Their size is considerable,
+they are frequently dated, and their condition is often
+extraordinarily good. Donatello's are relatively small, but they
+adhere to the best traditions. Excluding the great doors made by Luca
+della Robbia for the Sacristy of the Duomo, these in San Lorenzo are
+among the latest which were produced according to the ancient model
+and the correct idea. Thenceforward the doors ceased to be doors; the
+reliefs ceased to show the qualities of bronze, and disregarded the
+principles of sculpture. Donatello made two pairs of doors, one on
+either side of the altar. The doors open in the middle; there are thus
+four long-hinged panels of bronze, and each panel has five reliefs
+upon it. It is doubtful if the most archaic doors in Italy show such
+uniformity of design, for all the twenty bronze reliefs illustrate one
+single theme, namely, the conversation of two standing men. The panels
+simply consist of two saints, roughly sketched in somewhat low-relief
+upon an absolutely flat background: there is great variety in the
+drapery, and some of the figures might come out of thirteenth-century
+illuminations. Never was a monotonous motive invested with such
+variety of treatment: never was simplicity better attained by
+scrupulous elimination. Donatello's symmetrical idea had been
+previously employed, and Torrigiano put his figures in couples on what
+Bacon called one of the "stateliest and daintiest monuments of
+Europe."[171] Luca della Robbia put his figures in threes on the
+Cathedral gates, a seated figure in the centre, with a standing figure
+on either side. But Donatello had to make twice as many panels as
+Luca. Martyrs, apostles and confessors are talking on the San Lorenzo
+doors. Thus St. Stephen shows the stone of his martyrdom to St.
+Laurence. Elsewhere St. Peter's movement suggests that he is
+upbraiding his fellow, for the argument excites these saints. They
+gesticulate freely; martyrs seem to fence with their palm-leaves. One
+will turn away abruptly, another will pay sudden attention to his
+book, while his companion continues to talk. One man slaps his book to
+clinch the discussion, another jots down a note; two others are ending
+their controversy and prepare to leave--in opposite directions. But,
+though these are literal descriptions of the scenes, there is no
+levity; everything is ordained according to Donatello's strict
+formula. He was none the less determined to adhere to the old
+conventional and non-pictorial treatment of the gates, and at the same
+time to give animation to every panel. In this he has succeeded, but
+the symmetrical arrangement in pairs preserves a decorum in spite of
+the vigorous movement pictured on the doors. These doors open and
+shut: they were meant to do so, especially to shut. Ghiberti's second
+pair of doors for the Baptistery do not _shut_: they are closed, but
+they do not give the sense of shutting anything in or keeping anything
+out. They are more like windows than doors. They give no impression of
+defence or resistance: they are doors in nothing but name, and the
+chance that they hang on hinges. Were it merely a contest between
+Ghiberti and Donatello as to which sculptor were the more skilled
+constructor of doors, further comment would be unprofitable; but it
+raises the wider question of the laws and limitations of
+bas-relief--the application to sculpture of the principles of
+painting; in short, the broad line of demarcation between two
+different arts. Michael Angelo probably realised the unity of the arts
+better than Donatello, but Donatello knew enough to treat sculpture
+with due respect: he valued it too highly to confuse the issue by
+pictorial embellishments. It is no question of a convention, still
+less of a canon. But there are inherent boundaries between the two
+arts; and where the boundaries are overstepped, one or the other art
+must lose some of its essential quality and charm. Donatello's reliefs
+at Padua are crowded: Ghiberti's (on the second gates) are
+overcrowded. The difference in degree produces a difference in
+principle. If Ghiberti had made pictures instead of reliefs, the
+atmosphere would keep the objects in their right places, while
+differences of colour would give distinction to certain parts and the
+chief figures would still predominate. In other reliefs Ghiberti
+lavished so much care on landscape and architecture that the figures
+become of secondary importance: on one relief a tree casts its shadow
+on a cloud.[172] Ghiberti, in fact, with all his plastic elegance,
+with a grace, suavity and sense of beauty which Donatello never
+approached, was a painter at heart. "_L'animo mio alla pittura era in
+grande parte volto_," he says in his Commentary,[173] and the faults
+of his sculpture are due to this versatility. Donatello only used his
+pictorial knowledge to perfect form and feature; and, complex as his
+architectural backgrounds often are, they never suggest experiments in
+perspective, and they never detract from the primacy of the people and
+the incident. Michael Angelo was under no illusion on this point: he
+never confused painting and sculpture. Yet he said Ghiberti's gates
+would be worthy portals of paradise. "_Ce n'est pas la seul sottise
+qu'on lui fasse dire_," drily remarked the Chevalier des Brosses;[174]
+and, curiously enough, about the time that Michael Angelo made his
+famous Judgment, an amateur of the day made a much shrewder criticism,
+long since forgotten, that the doors would be adequate to stand at the
+gates of Purgatory:--"_sarebbon bastanti a stare alle porte del
+Purgatorio._"[175] The ambiguity is not without humour. Sculpture,
+indeed, had no reason to ape or imitate painting. Sculpture, in fact,
+was in advance of painting during the first half of the fifteenth
+century. Donatello, Luca della Robbia, Jacopo della Quercia, and
+Ghiberti were greater men in sculpture than their contemporaries in
+painting. The arts were in rivalry; the claim for precedence was
+zealously canvassed. The sculptors claimed superiority because their
+art was older, because statuary has more points of view than one. You
+can walk round it, while a picture has only one light and one view.
+Moreover, the argument of utility applies most to sculpture, which can
+be used for tombs, columns, fountains, caryatides, &c. Sculpture has
+finality, for, though it takes longer to make, it cannot be constantly
+altered like a picture. While all arts try to imitate nature,
+sculpture gives the actual form, but painting only its semblance. A
+man born blind has a sense of touch which gives him pleasure from
+sculpture, which is better suited to theology, which has greater
+durability, and so forth. The painter replied that, if a statue has
+more than one point of view, a picture containing many figures can
+give even greater variety. Then the argument of utility denies the
+essence of art, which is to imitate nature, not to adorn brackets and
+pilasters; but even if decoration be an end in itself, painting can be
+used where sculpture would be too heavy. The painter continues that
+his art requires higher training in such things as atmosphere and
+perspective. As to the greater durability of sculpture, the material
+and not the art is responsible; but, in any case, painting lasts long
+enough to be worth achieving. Finally, sculpture cannot always imitate
+nature: the sense of colour can make a sunset, a storm at sea,
+moonlight, landscape and human emotions, which are best translated by
+varying colour and light. The controversy is unsettled to this
+day.[176] The wise man, like Donatello, selected his art and never
+overstepped the boundary.
+
+[Footnote 171: "Life of Henry VII.," ed. 1825, iii. 417.]
+
+[Footnote 172: See Westmacott's lectures on Sculpture, II. III.,
+_Athenæum_, 1858.]
+
+[Footnote 173: 2nd Comm. Vasari, I. xxx.]
+
+[Footnote 174: Letter of 1739, p. 186.]
+
+[Footnote 175: 17, viii. 1549, Antonio Doni, printed in Bottari, iii.
+341.]
+
+[Footnote 176: These dialogues will be found at great length in
+Borghini, Vasari, Leonardo da Vinci, Alberti, &c. Castiglione also
+devotes a canto of the "Cortegiano" to the subject.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+JUDITH
+
+LOGGIA DEI LANZI, FLORENCE]
+
+
+[Sidenote: The Judith.]
+
+The bronze statue of Judith was probably made shortly before
+Donatello's journey to Padua. It is his only large bronze group, and
+its faults are accentuated by the most unfortunate position it
+occupies in the lofty Loggia de' Lanzi. It was meant to be the
+centrepiece of some large fountain. The triangular base, and the
+extremities of the mattress on which Holofernes sits, have spouts from
+which the water would issue, though the bronze is not worn away by the
+action of water. As we see the statue now, it looks small and dwarfed.
+In a courtyard it would look far more imposing, and when it came from
+Donatello's workshop, placed upon a pedestal designed for it, its
+present incongruities would have been absent. For instance, the feet
+of Holofernes would have been upheld by something from below, as the
+marks in the bronze indicate. With all its disadvantages, the statue
+is extremely interesting. Judith stands over Holofernes. With her left
+hand she holds him up by clutching his hair: her right arm is
+uplifted, in which she holds the sword. The action seems arrested
+during a moment of suspense: one doubts if the sword will ever fall.
+Judith, who was the ideal of courage and beauty, seems to hesitate;
+there is nothing to show that her arm is meant to descend, except
+her inexorable face--and even that is full of sadness and regrets. It
+is more dramatic that this should be so. Cellini's Perseus close by
+has already committed his murder. The crisis has passed, the blood
+spurts from the severed head and trunk of the Medusa; so we have
+squalid details instead of the overpowering sense of impending
+tragedy. With Cellini there was no room for mystery: no imagination
+could be left to the spectator. "_Celui qui nous dict tout nous
+saousle et nous dégouste._" Holofernes is an amazing example of
+Donatello's power. He is a really drunken man: we see it in the
+comatose fall of the limbs, in the drooping features, the languid
+inanition of the arms. The veins throb in his hands and feet: the
+spine has ceased to be rigid, and were it not for the support of
+Judith's hands buried in his hair, he would topple over inanimate. The
+treatment of the bronze is successful and its patina is admirable.
+Judith's drapery, it is true, has a restless crackling appearance. It
+is furrowed into small and rather fussy folds, almost suggesting, like
+the figures of the Parthenon pediment, the pleats of wetted linen on a
+lay figure. Judith's arm is overweighted by the heavy sleeve. There
+are, however, pleasing details, especially the band of embroidery over
+her breast decorated with the flying _putti_; and her veil, Michael
+Angelesque in its way, is treated with skill and distinction. The base
+consists of three bronze reliefs joined into a triangle, separated at
+each angle by a narrow bronze plaque, beyond which is a curved
+pilaster giving extra support to the figures above. These reliefs are
+bacchic in idea and Renaissance in execution. Children dance, play and
+sleep around the mask from which the jet of water would issue. These
+reliefs, much inferior to the bronze capital at Prato, have been
+over-rated. As a group the Judith is not really successful. It is a
+pile of figures, less telling in some ways than the Abraham and Isaac,
+though, having no niche, it has to undergo the severer test of
+criticism from every aspect. But before Michael Angelo the Italian
+free-standing group was tentative. Even in Michael Angelo's sculpture,
+when we consider its massive scale, the extent and number of his
+commissions, and the ease with which he worked his material, it is
+astonishing how few free-standing groups were made. His grouping was
+applied to the relief. The free group is, of course, the most
+comprehensive vehicle of intensified emotion or action; it gives an
+opportunity of doubling or trebling the effect on the spectator.
+Sculpture has never realised to the full the chances offered by
+grouped plastic art of heroic proportions. Classical groups cannot be
+fairly judged by the Laocoon, the Farnese Bull, or even the Niobe
+reliefs. Their theatrical character is so patent, that it is obvious
+how far inferior they must be to the work of greater men whose genuine
+productions have perished. But, even so, the group being the medium
+through which emotions could be intensified to the uttermost, it is
+not necessary to assume that they were common in classical times;
+partly owing to the technical difficulties and expense, and partly
+owing to their disinclination to make sculpture interpret profound
+impressions, mental or intellectual.
+
+There are only four life-sized statues of women by Donatello: this
+Judith, the Magdalen, the St. Justina, and the Madonna at Padua. The
+Dovizia is lost, and she was treated as an emblematic personage. These
+figures and the statuettes at Siena show that, although not accustomed
+to make female statues, Donatello was perfectly competent to do so.
+The little Eve, on the back of the Madonna's throne at Padua--the
+only nude figure of a woman he ever made, and here only in relief--is
+exquisite in sentiment and form. The statue of Judith had an
+adventurous life. After the revolution in 1495, the group was removed
+from the Medici palace to the Ringhiera of the Palazzo Pubblico, and
+the words of warning against tyranny were engraved on its new base:
+"_Exemplum salutis publicæ cives posuere_, 1495." Judith was the type
+of nationalism, the heroine of a war of independence: and this mark of
+the Florentine love of liberty has lasted to our own day. No Medici
+dared to obliterate the ominous words. Donatello was not much in
+politics: his father had taken too violent a share in the feuds of his
+day, and narrowly escaped execution. Nor was Donatello's art coloured
+by politics: the Florentines did not give commissions like the Sienese
+for allegorical representations of the life and duties of citizenship.
+Differing from Michael Angelo, Donatello made no Brutus; he did not
+concentrate the political tragedies of his day into a Penseroso and a
+group of statues full of grave symbolical protests against the
+statecraft of his time; and, except for the accidental loss of
+Judith's pedestal, Donatello's art never suffered from the curse of
+politics. Michael Angelo was always surrounded by the pitfalls of
+intrigue and politics: some of his work was sacrificed in consequence.
+The colossal statue of Pope Julio was hurled from its place on the
+façade of San Petronio, Maestro Arduino the engineer, having covered
+the ground where it was to fall with straw and fascines, in order that
+no damage should be done--to the pavement! And the broken statue was
+sent away to Ferrara, where it was converted into a big cannon, which
+they felicitously christened Juliana![177]
+
+[Footnote 177: Gotti, "Vita," i. 66.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. MARY MAGDALEN
+
+BAPTISTERY, FLORENCE]
+
+
+[Sidenote: The Magdalen and similar Statues.]
+
+We have now to consider a group of rugged statues differing in date
+but animated by the same motive, the Magdalen in Florence and three
+statues of St. John the Baptist in Siena, Venice, and Berlin. Of
+these, the Magdalen in the Baptistery at Florence is the most typical
+and the most uncompromising. She stands upright, a mass of tattered
+rags, haggard, emaciated, almost toothless. Her matted hair falls down
+in thick knots; all feminine softness has gone from the limbs, and
+nothing but the drawn muscles remain. It is a thin wasted form,
+piteous in expression, painful in all its ascetic excess. The Magdalen
+has, of course, been the subject of hostile criticism. It gives a
+shock, it inspires horror: it is an outrage on every well-clothed and
+prosperous sinner.[178] In point of fact, Donatello's summary method
+of carving the wood has given a harshness and asperity to features
+which in themselves are not displeasing. In a dimmed light, or looking
+with unfocused eyes on the reproduction, it is clear that the
+structural lines of the face were once well favoured. But from the
+beginning the Magdalen was a work which made a profound impression,
+and its popularity is measured by the number of statues of a like
+nature. Charles VIII. wanted to buy it in 1498, but the Florentines
+thought it priceless and hid it away. Two years later they had the
+bronze diadem added by Jacopo Sogliani.[179] Finally, at a period when
+this type of sculpture with all its appeal to the traditions of the
+Thebaid, was least likely to have been acceptable in art or exemplar,
+the statue was placed in a niche above an altar erected on purpose for
+its reception, where an inscription testifies to the regard in which
+it was then held.[180] This Magdalen is didactic in purpose. Donatello
+seems to have given less attention to the modelling, subtle as it is,
+than to the concentration of the one absorbing lesson which was to be
+conveyed to the spectator. His object was to show repentance, abject
+unqualified remorse; purified by suffering, refined by bodily
+hardship, and sustained by the "sun of discipline and virtue." There
+is no luxury in this Magdalen, but she may have contributed to the
+reaction when Pompeo Battoni and the like transformed her into an
+opulent personage, dressed in purple, who reclines in some luscious
+glade while simpering over a bible. By then art had ceased to know how
+penitence could be decently portrayed, and the penitent was not long a
+genuine subject of art. The Greeks, of course, had no penitent or
+ascetic in their theocracy: even the cynic scarcely found a place in
+their art. In Italy the Thebaids of Lorenzetti are among the earliest
+versions; the sculpture of the following century brought it still more
+home to the public, and then the true mediæval sentiment upon which
+this and similar works were founded vanished and has never reappeared.
+The date of the Magdalen has provoked a good deal of controversy:
+whether it was made immediately before or after the visit to Padua
+cannot be determined. But the statue has so many features in common
+with the Siena Baptist of 1457 that one can most safely ascribe it to
+some date after Donatello's return to Florence. It is certainly more
+easy to justify the Magdalen from the pulpits of San Lorenzo than from
+anything made before his journey to Northern Italy. One
+misapprehension may be removed. It is argued that the Magdalen cannot
+be posterior to Padua on the ground that by 1440 Donatello had ceased
+to work in any material but soft and ductile clay, which was converted
+into bronze by his assistants. The argument is that of one who
+probably thinks that the Entombment at Padua is made of terra-cotta,
+and who forgets that Donatello executed a number of works in stone for
+the Marchese Gonzaga about 1450.[181]
+
+[Footnote 178: Rumour was very severe. "_Elle m'a pour toujours
+dégoûte de la pénitence_," sighed Des Brosses. This inimitable person
+was the critic who, after visiting the Arena chapel at Padua, observed
+that nowadays one would scarcely employ Giotto to paint a
+tennis-court.]
+
+[Footnote 179: Richa, III., xxxiii.]
+
+[Footnote 180: The inscription is: "Votis publicis S. Mariæ Magdalenæ
+simulacrum ejus insigne Donati opus pristino loco elegantiario
+repositum anno 1735."]
+
+[Footnote 181: See p. 199. Moreover, in 1458 Donatello accepted a
+commission at Siena for a marble San Bernardino. And the Anonimo
+Morelliano mentions four other marble reliefs at Padua.]
+
+[Illustration: _Alinari_
+
+ST. JOHN THE BAPTIST
+
+FRARI CHURCH, VENICE]
+
+The statues of St. John at Siena, Berlin, and Venice[182] are closely
+analogous to the Magdalen. St. John is the ascetic prophet who spent
+years in seclusion, returning from the desert to preach repentance.
+These three figures have one curious feature in common--a flavour of
+the Orient. The St. John is some fakir, some Buddhist saint. Asiatic
+as the Baptist was, it is seldom that Italian art gave him so Eastern
+a type; but the explanation is simply that Donatello evolved his own
+idea of what a self-centred and fasting mystic would resemble, and his
+conception happens to coincide with the outcome of similar conditions
+actually put into practice elsewhere. The Berlin bronze is St. John as
+Baptist, the others show him with the scroll as Precursor. He always
+wears the camel's-hair tunic, which ends just below the knee; at Siena
+it is thick, like some woolly fleece; it conceals and broadens the
+frame, thus suggesting a stoutness which is not warranted by the
+size of the leg. The modelling of legs and arms in these statues is
+noteworthy. They are thin, according to Donatello's idea of his
+subject; and though the thinness takes the natural form of slender
+circumference, one sees that the limb with its angular modelling and
+its flat surfaces has _become_ thin: the thinness is explained by the
+character. The feet of the Siena bronze are exceptionally good; the
+wrist and forearm of the Venice figure are admirable. The Siena
+Baptist is nearly life-sized, and was made in 1457. He is the least
+introspective of the three, a mature strong man, and the oldest of the
+many Baptists Donatello made. The Berlin figure is the flushed
+eccentric, holding up the cup he used in baptizing. The figure is half
+the size of life, and was doubtless one of the numerous statuettes
+which crowned fonts. It has been suggested that this bronze, which is
+defective in several places, was commissioned for the Cathedral of
+Orvieto in 1423.[183] But the type would appear more advanced than the
+busts on the Mandorla doorway or the Siena work made about this time.
+Moreover, the contract specifies a St. John _cum signo crucis et
+demonstratione ecce agnus Dei_. A Baptist was made at the same time
+for Ancona, and is now lost. On first seeing the St. John in Venice
+one's impression is to laugh. But he is not really a wild man of the
+woods--he is simply covered with and made grotesque by thick masses of
+oil paint. A close examination of the figure shows that in some places
+the paint is over a quarter of an inch thick, and the last coating it
+has received is glutinous in quality, and has been laid on with such
+freedom that the position and shape of certain features are altered.
+But if seen close at hand, the statue (which it is understood will
+shortly be cleaned) shows distinct merits. The modelling of the
+extremities is good, and though it is clear that Donatello was never
+quite willing to treat St. John as on a par with the other Saints, we
+have a systematic and generic rendering of his idea. In some measure
+painting was needed as a preservative for wood statues, otherwise it
+is difficult to justify the covering of a fine material by paint which
+cannot do justice to itself, while it must hide the refinements of the
+carving. Donatello worked but little in wood. Crucifixes were commonly
+made of it, but the material was one which could never receive _quella
+carnosità_ and _morbidezza_[184] of marble or metal. The Greeks
+limited their use of it to garden and woodland themes: the Egyptians
+used it but little, because they had so few trees. In Donatello's time
+it was popular, and came to be regarded as a distinct art. Thus the
+Sienese wood-carvers were forbidden to work in stone,[185] but the
+great masters like Donatello did not strictly adhere to the rules, and
+did not refrain from invading the art of the woodcarver. There is a
+large class of statues derived from the four just described. One of
+these, attributed to Donatello, is the St. Jerome at Faenza, also made
+of wood.[186] Chocolate-coloured paint has been ladled all over the
+body. The beard is faint lavender, and the canvas loin-cloth is blue.
+The pose and expression are mannered. It is usual to dismiss it in an
+offhanded way as a bad and later work; but the modelling shows signs
+of skill, and until the paint is removed it is useless to make
+guesses. Two bronze statuettes of the Baptist[187] are distinctly
+Donatellesque, and made about 1450, though it is impossible to assign
+them with certainty to the master himself. Michelozzo's versions of
+St. John at Montepulciano, on the Cathedral altar in Florence, and in
+the Annunziata, show the influence of Donatello; but the Baptist is a
+milder prophet, and no longer the hermit. In the Scalzi at Florence
+there is a Baptist which is typical of many others of the same
+character. The Magdalen was less copied than the St. John. The version
+nearest Donatello himself is in London, a large grim bust;[188] in the
+same collection is a relief of her apotheosis, and the Louvre
+possesses a similar work.[189] Neither of the latter is by Donatello
+himself, but they recall his influence.[190] The large Magdalen in
+Santa Trinità at Florence is a good example of the _bottega_.
+
+[Footnote 182: Siena Cathedral, bronze; Berlin Museum, bronze; Frari
+Church, Venice, wood.]
+
+[Footnote 183: 10, ii. 1423. On 29, iv. 1423, Donatello received 5
+lbs. 3 oz. of wax for modelling the figure. Luzi, "Duomo di Orvieto,"
+1867, p. 406.]
+
+[Footnote 184: Vasari, i. 147.]
+
+[Footnote 185: _Che niuno maestro di legname possa fare di pietra._
+Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120.]
+
+[Footnote 186: In Museum. From the Capella Manfredi in San Girolamo
+degli Osservanza outside the town, suppressed in 1866. _Cf._ two
+similar statuettes in terra-cotta, Bargello, Nos. 174 and 175.]
+
+[Footnote 187: Louvre, about 12 inches high, unnumbered. Museo
+Archeologico, Venice, No. 8. Frau Hainauer's bronze Baptist, signed by
+Francesco di San Gallo, is interesting in this connection.]
+
+[Footnote 188: Victoria and Albert Museum, No. 157, 1894.]
+
+[Footnote 189: _Ibid._ No. 7605, 1861, terra-cotta. Louvre, No. 465,
+ditto.]
+
+[Footnote 190: _Cf._ Herr von Beckerath's in Berlin, and the
+Verrocchio-school Magdalen in the Berlin Gallery, No. 94.]
+
+       *       *       *       *       *
+
+[Sidenote: The Altar at Padua.]
+
+Donatello was fifty-seven when he left Florence in 1443 to spend ten
+eventful years at Padua. There he carried out his masterpieces of
+bronze for the Cathedral and the equestrian statue of Gattamelata on
+the Piazza opposite Donatello's little house, which to this day is
+occupied, appropriately enough, by a carver--Bortolo Slaviero,
+_tagliapietra_. It is now established that Donatello was invited to
+Padua for the Church and that the Gattamelata was not commissioned
+until later.[191] At this time Padua was a centre of humanistic
+learning and intellectual activity. There was a hive of antiquarians
+and collectors, and, according to its lights, a thriving school of
+painters.[192] The Florentine Palla Strozzi was living there in
+retirement, and he may have been partly responsible for the invitation
+to Donatello. But the indigenous art of Padua was dependent on Venice,
+and needed some fertilising element. Squarcione with his 140 pupils
+founded his art upon traditional and conventional data: had it not
+been for Donatello and the radical changes which resulted from his
+sojourn at Padua, a fossilised school would have become firmly rooted,
+and would probably have influenced the whole of the Veneto. Mantegna
+was still young when Donatello arrived, and though there is no reason
+to suppose that he received work from Donatello as Squarcione did, it
+is clear that, without this influx of Southern ideas, he would have
+had some difficulty in shaking off the conventionalisms of his home.
+But though Donatello's immediate influence on Paduan art was decisive
+(and its ramifications soon extended to Venice), he was himself
+influenced by his fresh surroundings, and his native bent towards
+complexity was increased. He assimilated many of the local likes and
+dislikes. If Gattamelata had been erected in some Florentine square
+there would have been less ornament; if Colleone had been commissioned
+for Siena there would have been less _braggadocio_. Leonardo never
+recovered his Tuscan frame of mind after his sojourn in Milan.
+Donatello himself realised these novelties to the full, and their
+results upon his art. While he was making the intricate bas-reliefs,
+the selective genius of Luca della Robbia was composing the Florence
+Lunettes,[193] monumental in their simplicity. And though Vasari
+records the enthusiasm with which Donatello's productions were greeted
+in the North, the sculptor recognised the dangers of unqualified
+praise, and said he must return home to Florence to receive criticism
+and censure, the stimulus to better work and greater glory. But the
+_maggiore gloria_ was not to be attained. He was old when he left
+Padua, and on his departure he had completed the greatest undertaking
+of his career--the High Altar of the Santo, with all its marble
+setting and the bronze figures. A crucifix, the Madonna and Child, six
+saints, a Pietà, twelve panels of angels, four reliefs of St Anthony's
+Miracles, the Symbols of the Evangelists, and a large marble
+Entombment. Donatello's altar was unfortunately dismantled in the
+seventeenth century, and the statues were dispersed throughout the
+Church. The altar was reconstructed a few years ago, and the bronzes
+have suffered during their exile, but they are still in good
+preservation. The new marble altar is a thoughtful and painstaking
+construction; its details are derived from Donatellesque motives, and
+the bronzes are fitted in with skill. It cannot, however, be in any
+sense a reproduction of the old altar, of which no drawing is
+preserved. And the earliest description, which has been carefully
+followed as far as circumstances allow, shows that the existing
+sculpture is incomplete: at least four marble reliefs have been
+lost.[194] One may further remark that the twelve angels in high
+relief, now forming the face of the altar frontal, are so designed,
+especially as regards their aureoled heads, that one concludes it must
+have been Donatello's intention for them to have been looked up to
+rather than looked down upon. The present arrangement of the altar is
+simple and effective. The frontal itself is composed of children
+singing and playing music. In the centre is the Pietà, and on either
+side is an Evangelist's symbol flanked by two saints on the level of
+the top of the altar. The retable has two miracle reliefs, and between
+them a small bronze Christ, which has been put there in error. Above
+the retable is the Madonna with two saints on either side: the
+crucifix surmounts the whole composition. The back of the altar has
+the remaining Miracle reliefs and Evangelist symbols, together with
+the Entombment.
+
+[Footnote 191: Michael Angelo Gloria; Donatello Fiorentino e le sue
+opere ... a Padova, 1895, from which the dates are all quoted.]
+
+[Footnote 192: See Kristeller's Mantegna, translated by S.A. Strong,
+1901, p. 17.]
+
+[Footnote 193: Over the Sacristy doors in the Cathedral.]
+
+[Footnote 194: Anonimo Morelliano (1520-40). Ed. of Bassano, 1800, p.
+3. _E da dietro l'altar sotto il scabello il Cristo morto, con le
+altre figure a circo, e le due figure da man destra con le altre due
+da man sinistra, pur de basso rilevo, ma de marmo, furono de mano de
+Donatello._]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SAINT FRANCIS, THE MADONNA, AND SAINT ANTHONY
+
+SANT' ANTONIO, PADUA]
+
+
+[Sidenote: The Large Statues.]
+
+Of the seven large free-standing statues, that of the Madonna and
+Child worthily occupies the central position. Nobody was more modern
+than Donatello, nobody less afraid of innovation. But in this Madonna
+he went back to archaic ideas, and we have a conception analogous to
+the versions of the two previous centuries:[195] indeed, his idea is
+still older, for there is something Byzantine in this liturgical
+Madonna, who gazes straight in front of her, and far down the nave of
+the Santo--a church with mosque-like domes, like those of the early
+Eastern architects. The Child is seated in her lap, as in the
+earliest representation of the subject: here, however, the Christ
+is a child, with an element of helplessness almost indicated, whereas
+the primitive idea had been to show the vigour and often the features
+of a biggish boy. Donatello's version is much more pathetic, as the
+little Christ raises a tiny hand in benediction. The Virgin herself is
+of unequalled solemnity, while her young and gracious face, exquisite
+in expression and contour, is full of queenly beauty. But there is
+still this atmosphere of mystery, an enigmatic aloofness in spite of
+the warm human sentiment. The Sphinx's faces, with all their
+traditions of secrecy, contribute their share to the cryptic
+environment. Donatello uses them as the supports of the throne on
+which the Madonna is seated; behind it are Adam and Eve in relief: in
+front she herself shows the New Adam to the multitude, on whom he
+confers his blessing. St. Francis of Padua [Transcriber's Note: Should
+be "Assisi."] stands on the right of the Madonna, as founder of the
+Order, and taking precedence of St. Anthony, to whom the church is
+dedicated. He holds the crucifix and the book of rules. He is draped
+in the ordinary Franciscan habit, which falls round his feet, giving a
+stiffness to the figure as seen in profile, and making him appear
+rather short when seen from the front. The workmanship is good, the
+hands, with lightly shown stigmata, being excellent; but the lack of
+distinction in the figure makes one look more closely at the head,
+which is modelled with great power and freedom, showing that Donatello
+still possessed the vigour and penetration for which the Campanile
+prophets are notable. The head is full of character; not perhaps what
+one would expect from the apostle of self-abnegation: but it is
+determined, strong in the mouth and broad chin. It was, of course,
+only meant to be seen a few feet from the ground, and the lines do
+not compare in depth with the Habbakuk or the Zuccone; but there is
+none the less an analogy in the manner by which Donatello calls in the
+assistance of light and shade to add tone and finish to the modelling.
+St. Anthony was a deservedly popular saint in Padua, where he preached
+and denounced the local tyrant; and he may be accounted the greatest
+man of Portuguese birth. But Donatello does not seem to have found the
+subject very inspiring. He has taken his idea from rather an ordinary
+friar such as he or we might see any day. It is a good homely face,
+neither worldly nor spiritual, and only redeemed from the commonplace
+by technical ability. St. Daniel is more interesting; the young deacon
+is extremely well posed, the plain and massive features being drawn
+with a firm and confident touch; and the deacon's vestments, which
+always take an easy and becoming fall, are decorated in a typical way
+with winged children arbitrarily introduced, and looking more like the
+detail of some bas-relief than a piece of embroidered ornament. St.
+Justina wears the coronet as princess, and bears the palm-leaf as
+martyr. She has no pronounced characteristic, the face being rather
+unemotional; but the gesture of her outstretched hand is not without
+an appealing dignity. The hair, like that of the Madonna, is parted in
+the centre, and stands off from the forehead, and then falls in rich
+tresses about her shoulders. It has not the soft and silken texture of
+the Madonna's hair, which is rendered with as great a skill as one
+sees in the Virgin of the Annunciation. In both these latter cases
+Donatello succeeds in giving to the hair an indescribable suggestion
+of something full of elasticity and lustre. But St. Justina's hair at
+least grows: so many sculptors of ability failed to indicate that
+needful quality. St. Procdocimus and St. Louis are of subordinate
+merit, and show the work of assistants in several particulars. The
+former was first Bishop of Padua and converted the father of St.
+Justina to Christianity. At first sight the statue is pleasing, but on
+closer examination the weaknesses, especially in the face, become
+marked. There is indecision, not in the pose or general idea, but in
+the details which give character to the whole conception. The features
+are chiselled by a small _mesquin_ personality, and what might have
+been a fine statue if carried out by Donatello has been ruined by his
+assistants. The ewer which the Bishop carries is a later addition,
+from the design of which one might almost argue that the statue itself
+is later than the others.[196] The St. Louis, wearing his episcopal
+robes above the Franciscan habit, his mitre decorated with a
+fleur-de-lys of royal France, is also hammered all over, giving the
+bronze the appearance of being dotted with little pin-holes. The head
+is, however, marked by the grave austerity for which the St. Louis in
+Santa Croce is so remarkable, and which became the typical rendering
+of the saint in fifteenth-century plastic art. However much Donatello
+may have allowed a free hand to his assistants in this statue, the
+fine qualities of the head are attributable to a strict adherence to
+his own sketch. The last of the great bronze figures is the crucifix
+above the high altar. It is magnificent, apart from the technical
+qualities which rival Donatello's most brilliant achievements. All the
+lines droop together in a wonderful _cadenza_; the face is
+transfigured by human pain, but all the superhuman power remains.
+Donatello combines the literal and symbolical meaning of the Cross;
+the Godhead is still there. Donatello did not forget that the
+crucified Christ, when represented by the sculptor, had to preserve
+all the immortality of the Son of God. His _contadino_ Christ in
+Florence has its interest in art; this Christ marks the summit of his
+plastic ability; but it shows that, without any appeal to terror or
+emotionalism, without, indeed, suppressing the signs of physical pain,
+Donatello was able to give an overwhelming portrait of Christ's agony.
+The celestial and the terrestrial are unified and fused into one
+tremendous concentration of human suffering, tempered by divine power.
+
+[Footnote 195: _Cf._, for instance, the Madonna over the door of the
+Pisa Baptistery.]
+
+[Footnote 196: _Cf._ drawings of ewers in Uffizzi by Giacomone da
+Faenza, sixteenth century.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+MIRACLE OF THE SPEAKING BABE
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: _Alinari_
+
+MIRACLE OF THE MISER'S HEART
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: _Alinari_
+
+MIRACLE OF THE MULE
+
+SANT' ANTONIO, PADUA]
+
+
+[Sidenote: The Bronze Reliefs.]
+
+The four panels of Miracles take the highest rank among Donatello's
+bas-reliefs. Their size is considerable, being about four feet long.
+They have one theme in common, namely, the supernatural gifts of St.
+Anthony and the veneration of the populace. Donatello's crowds are
+admirable; they are deep crowds. The people are rather hot and
+jostling each other: they stand on benches or stairs in order to get a
+better view of what is proceeding. The edges of the crowds, where the
+people are too far off to be active spectators, lose interest in the
+central incident; they gossip as bystanders or sit down: often they
+are shown actually leaving the place. It is singular how ill-designed
+many of the classical crowds are, especially the battle-scenes: they
+are constructed without regard for the human necessity of standing on
+something; and we have grotesque topsy-turvy compositions, the
+individual parts of which are unrivalled in technique.[197] Michael
+Angelo's first and last representation of a crowd in sculpture shows
+the same fault, which, indeed, was far from uncommon.[198] It arose
+from a desire to show more of the crowd than could be naturally seen
+from the eye level, and the whole relief was consequently covered with
+figures, the background proper being suppressed. In these Paduan
+reliefs Donatello manages to give ample density and variety, and there
+is never any doubt as to the ownership of legs or arms. His early
+relief at Siena, on the other hand, has a group where there is
+confusion, which is not justified in a quiet gathering of people.
+Another feature which the four reliefs have in common is Donatello's
+treatment of narrative. Ghiberti's plan was to put several incidents
+into one relief, forming a sequence of events leading up to the
+critical episode, to which he usually gave the best place in the
+foreground. He consistently followed up his formula in the second
+gates, and brought the practice to its perfection. Whether suitable or
+not for gates, it would have been an intelligible treatment of purely
+decorative reliefs, like those at Padua. Donatello, however, confines
+his plaques to single incidents: in one case only does he add a second
+detail, and there only as a corroborative fact. The narrative is shown
+in the crowd itself. Attitudes and expression are made to reflect the
+spirit of what has gone before, while the actual occurrence suffices
+to show the final issue of the story. Thus we have all the ideas of
+which others would have made a series of subordinate scenes:
+incredulity, fear, surprise, mockery, apathy and worship. The crowd
+shows everything which has already passed, and the composition of the
+bas-reliefs thus secures a striking homogeneity. It is difficult to
+say which of them is best. The variety in dress, scene and physiognomy
+is so remarkable; varying, no doubt, according to the tastes of the
+_garzone_ responsible for finishing it. Probably the miracle of the
+Speaking Babe is the best known. A nobleman of Ferrara doubted the
+honour of his wife; St. Anthony conferred the power of speech on her
+infant child, which proclaimed its mother's innocence. Donatello has
+put an exquisite little Madonna and Child just above the central
+figures of the legend. The composition of this group, as in the
+others, is broken by the architecture, otherwise the length of the
+bronzes might have tended to a monotonous row of figures. But the
+projecting background does not make the episode less coherent. The
+mother is just receiving back her baby from the saint; behind her are
+women, friends and others; whereas the opposite side of the relief is
+entirely occupied by men, who are around her husband; and the
+suggested conflict of the sexes is averted by the miracle. The
+husband, who wears an odd sort of _bonnet tricolore_, and several of
+his comrades are simply dressed in short cloaks open at the sides and
+ending just below the hip. The legs and arms, and especially the
+hands, are very well modelled. In this relief the actors are quiet and
+decorous, and where not motionless are moving slowly. The miracle of
+the Miser's Heart is more emotional: "where thy heart is there shall
+thy treasure be also." The miser having died, St. Anthony said that
+his heart would be found in his strong box: this was proved to be the
+case, and then when the body was opened it was found that his heart
+was absent. The scene is nominally inside a church: in the background
+is a procession of clergy and choristers with their cross and candles.
+In the centre is the bier with the corpse lying on it. The body is
+opened and the crowd looks on in feverish though suppressed
+excitement. St. Anthony is pointing towards the dead man: and the
+crowd realises that the heart is absent--_ubi thesaurus ibi cor_.
+Numbers of people have dropped on to their knees, others kiss the
+ground where the saint stands. There are signs of distress and
+apprehension on all sides. Some children scuttle back to their
+parents; one of the mothers bends down to catch her child just as it
+is going to fall. Two boys have climbed on to an altar or pedestal to
+get a better view: one of them wears the peaked cap still worn by the
+undergraduates of _Padova la dotta_. The whole scene is immensely
+dramatic and grim, without any frenzy or excess; and its solemn effect
+is enhanced by the reserve of the people in spite of their excitement.
+The background is full of detail, largely obtained by the chisel: one
+part of it, with the stairs, ladders and upper storey, resembles the
+Lille relief. There are two important inscriptions, cut into the
+metal, to which reference will be made later. The subject of the third
+relief (now placed on the retable and already getting dimmed by
+candle-grease) is the healing of the youth Leonardo, who kicked his
+mother and confessed to St. Anthony, who properly observed that so
+sinful a foot should be cut off. The injunction was taken too
+literally, and the saint's miraculous power replaced the severed limb.
+Strictly speaking, this miracle takes place in the open air, for
+Donatello has introduced a rudimentary sun with most symmetrical rays,
+and half a dozen clouds which look like faults in the casting. But the
+whole relief is framed by an architectural structure, some
+amphitheatre with the seats ranged like steps. A balustrade runs all
+round the huge building, and a number of idlers standing about at the
+far end are reduced to insignificant proportions, thus giving
+distance and depth to the scene. Leonardo lies on the ground in sad
+pain, and Anthony has just restored the foot. The central group is not
+much animated, but two or three of the men's heads are telling
+character-studies. Donatello has concentrated his crowd into the
+centre: at the sides the miracle passes unheeded. A fat man is
+soliloquising with his hand reposing on an ample stomach: a boy with a
+long stick and something like a knapsack on his back is attracting the
+attention of a young woman, who seems absorbed in watching the
+miracle: her child tries to pull her along to go closer. In the corner
+are some strange recumbent figures, almost classical in idea; and a
+tall woman completely veiled, with her face buried in her hands. The
+last of the reliefs illustrates St. Anthony's power over animals. One
+Bovidilla, a sceptic, possessed a mule; the saint offered the
+consecrated wafer to the animal when starving, and Bovidilla was
+converted by the refusal of the animal to eat it. The scene takes
+place within a church, which, so far as we see the apse and choir, is
+composed of three symmetrical chapels with vaulted and coffered roofs.
+There is plenty of classical detail, but still more of the
+Renaissance; there is no occasion to assume the design to have been
+copied from the Tempio di Pace or the Caracalla baths. St. Anthony
+occupies the centre, and the kneeling mule is on the right, his master
+close at hand. The church is crowded with people, who, on the whole,
+show more curiosity than reverence. Several garrulous boys by the door
+are amused; an old beggar hobbles in; a mother tries to keep a child
+quiet. Others take any post they can secure, and a good many are
+crouching on the ground in all sorts of postures, making a variety
+which amounts to unevenness. In all these panels the head of St.
+Anthony is of a finer type than that shown in the other version on
+the altar. The features are clear cut, and there is an air of earnest
+distinction which is not observed on the large statue. Speaking
+generally, one notices that while ample scope is allowed to the
+fancies of picturesque architecture in all these reliefs, Donatello
+always keeps it within proper bounds. Donatello was not tempted into
+the interacting problems of perspective and _intarsia_, which caused
+so many Paduan artists to lose grasp of the wider aspects of their
+calling. Then we notice how the crowd _qua_ crowd plays its proper
+part: out of some two hundred faces in these panels not more than two
+or three look out to the spectator--a quality inherited by Mantegna.
+The reliefs are essentially local pictures of local significance; not
+only the costume, but the types are Paduan, such as we find in the
+local school of painting: but we find nothing of the kind in Donatello
+before the journey to the north, and the types scarcely reappear on
+the altar of San Lorenzo. But, in spite of this, the reliefs have a
+catholicity which extends their influence far beyond the limits within
+which Donatello confined his work. Finally, the wealth of local
+colouring and animation makes these reliefs among the earliest in
+which "genre" or "conversation" has prominence. They offer a most
+striking contrast to the sedate Florentine crowds painted in the
+Brancacci chapel by Masaccio.
+
+[Footnote 197: _Cf._ Battle of Romans and Barbarians, No. 12. Museo
+Nazionale, Rome.]
+
+[Footnote 198: Battle, Casa Buonarroti, Florence.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SYMBOL OF ST. MATTHEW
+
+SANT' ANTONIO, PADUA]
+
+
+[Sidenote: The Symbols of the Evangelists.]
+
+There are four other bronze reliefs, the Symbols of the Evangelists.
+Donatello has contrived to invest these somewhat awkward themes with
+alternate drama and poetry. The emblems of Ezekiel's vision were too
+intricate for Western art, and long before the fifteenth century they
+had been reduced to the simple forms of the lion, ox, eagle and angel,
+with no attribute except wings. All four reliefs are rectangular,
+about eighteen inches square. The ox is, of course, the least
+inspiring, and here as elsewhere is treated in a dry perfunctory
+manner. The oxen on the façade of Laon Cathedral offered some scope to
+the sculptor, being life-sized; but in a small relief the subject was
+not attractive. The lion is more vigorously treated. As a work of
+natural history he is better than the Marzocco, and he has a certain
+heraldic extravagance as well. The limbs have tension, the muscles are
+made of steel, and there is strength and watchfulness, attributes
+which led the early architects to rest the pilasters of the pulpit and
+portal upon lions' backs. But the eagle of St. John is superb, even
+grander than the famous classical marble of the same subject.[199] It
+has the broad expanse of wings, vibrating as though the bird were
+about to take flight: the long lithe body with its soft pectoral
+feathers, the striking claws, and the flattened head with cruel
+gleaming eye, all combine to give a _terribilità_ which is, perhaps,
+unsurpassed in all the countless versions of the symbol. But the drama
+of the eagle is eclipsed by the quiet unostentatious poetry of the
+angel of St. Matthew. We see a girl of intense grace and refinement,
+winged as an angel and looking modestly downwards to the open gospel
+in her hands. Delicacy is the keynote pervading every detail of the
+relief: in her hands, arms and throat, in the soft curves of the young
+frame, and in the drapery itself, which suggests all that is dainty
+and pure--everywhere, in fact, we find charm and tenderness, rare even
+in a man like Ghiberti, almost unique in Donatello.
+
+[Footnote 199: The Walpole Eagle from the Tiber, belonging to the Earl
+of Wemyss.]
+
+       *       *       *       *       *
+
+[Sidenote: The Choir of Angels.]
+
+In the original contract with Donatello, ten angels were commissioned,
+and were exhibited on the provisional wooden altar (13, vi. '48). It
+appears, however, that they were insufficient, and two more panels
+were ordered. These may possibly be the reliefs in each of which a
+couple of angels are represented singing, certainly the most
+successful of all. There is a palpable inequality in the remainder.
+They not only show differences of treatment in the details of drapery,
+chiselling and general decoration, but there is a substantial lack of
+harmony in their broad conception. It is impossible to believe that
+the two angels leaning inwards against the edge of the relief (the
+fourth respectively from either end of the altar) could have been
+modelled by Donatello. Not only are they vulgar and commonplace, but
+they are malformed: well might Donatello long for criticism and
+censure if these two stupid little urchins were standards of his
+production. Next to one of these pipers is a child playing the lute,
+delicious in every respect: he is made by the genius, the other by the
+hack. They contrast in every particular--drapery, anatomy, face and
+technique. The lutist is admirable as he looks down at his instrument
+to catch the note; capital also is the boy playing the double pipe,
+with the close drapery swirling about his plump limbs, as one sees in
+San Francesco of Rimini, that temple dedicated to Isotta and to
+Childhood. The head of the boy playing the harp shows the best
+characteristics of this group. The hair is relatively short, and falls
+in thick glossy ringlets over his ears; it is bound by a heavy chaplet
+of leaves and rosettes; above this wreath the hair is smooth and
+orderly. There was no occasion to exclude the pleasing little touches,
+as in the case of the Cantoria children, where deep holes penetrate
+the children's hair, so that the "distance should not consume the
+diligence." At Padua, where the choristers were to be seen a few feet
+only from the ground, the sculptor's efforts to show the warm shades
+and recesses of the hair were amply repaid. The boys singing the duets
+differ from the remainder: they are busily occupied with their music,
+carefully following the score. The disposition of two children in a
+panel only large enough for one has not been so successfully met as
+when Abraham and Isaac were fitted into the narrow niche on the
+Campanile; but the affectionate attitude of these boys and their
+sincerity make one overlook a slight technical shortcoming. The two
+heads in close proximity give a certain sense of atmosphere between
+them, not easily rendered when one of them had to be modelled in
+comparatively high-relief.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+CHORISTERS
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: _Alinari_
+
+CHORISTERS
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: CHRIST MOURNED BY ANGELS
+
+LONDON]
+
+
+[Sidenote: The Pietà and the Entombment.]
+
+The remaining work for the high altar consists of a marble Entombment
+and a bronze relief of Christ mourned by Angels, treated as a Pietà.
+The tabernacle door, which occupies the centre of the high altar,
+differs in shape, quality and design from everything else, and is
+wholly unworthy of its prominent position. The lower relief is,
+however, a work of exceptional interest. It is placed in the centre of
+the frontal with the reliefs of choristers on either side of it, a
+tragic culmination to all the happy children around it. The Christ is
+resting upright in the tomb, half of the figure only being visible.
+The head is bowed and the hands crossed: the face is wan and haggard.
+The body is modelled to emphasise the pronounced lines of the big
+curve formed by the ribs from which the lower part of the body is fast
+sinking: Donatello did the same thing with the crucifix. An angel
+stands at each side of the Christ, holding up a curtain or pall behind
+the figure. Each of these boys has a hand pressed against his cheek,
+the picture of tragedy: they weep over the dead Saviour, their anguish
+is indescribable. In the marble version of the same subject in
+London,[200] the angels are actually supporting the Christ, who,
+without their maintenance, would fall down. His head is resting
+against one of the children's hands: one of the arms has slipped down
+inanimate, while the other hangs over the shoulder of the second
+angel, a consummate rendering of what is dead: the veins are tumified,
+the skin is shrinking, and the muscles are uncontrolled. This Christ
+is in some ways the more remarkable plastic achievement, though it is
+not so characteristic as the Paduan version. The two reliefs are
+probably coeval, though that in London, with its attendant angels, has
+indications of being rather earlier in date, and almost shows the hand
+of Michelozzo in one or two details. But the head of Christ, with its
+short thin beard, and the hair held back by a corded fillet, is
+similar to much that is exclusively Paduan. The Entombment, a very
+large marble relief, consists of eight life-sized figures, four of
+whom are lowering the body into the sepulchre. Here for the first time
+we have that frenzied and impassioned scene which became so common in
+Northern Italy. The Entombment on the St. Peter's Tabernacle is
+insipid by the side of this, where grief leads the Magdalen to tear
+out thick handfuls of her hair; others throw up their hands as they
+abandon themselves, as they scream in ungovernable sorrow. It is a
+riot of woe, and the more solemn figures who are engaged with the dead
+body have grown grey with care. This relief dates a new departure: the
+Entombment and other episodes of the Passion henceforward lose their
+calm emblematic character, and are fraught with tragedy and gloom.
+Donatello's relief became the prototype for the Bellini, for Mantegna,
+and a host of artists who, without, perhaps, having seen the original,
+drew their inspiration from what it had already inspired. For a while
+this intensification of the last scenes of Christ's life bore good
+fruit for art, especially in the northern provinces: but after a
+certain point nervous exhaustion ensued and produced a kind of
+hysteria, where the Magdalen's tears must end in convulsive laughter,
+and where the tragedy is so demonstrative that the solemn element is
+utterly lost.[201] The profound pathos and teaching of the earlier
+scenes were exchanged for what was theatrical. But Tragedy always held
+a place in Italian, or rather in Christian art: it was out of place in
+antiquity. The smiling and perennial youth of the gods, their
+happinesses, loves, and adventures, gave relatively small scope for
+the personal aspects of tragedy. There was no need for vicarious or
+redemptive suffering: what pain existed, and they rarely expressed it
+in marble, was human in its origin and punitive in effect: Icarus,
+Niobe, Laocoon, Prometheus; and even here the proprieties of good
+taste imposed strict limits, beyond which the portrayal of tragedy
+could not go without violating unwritten laws. It had to occupy a
+secondary place in their art: the dying gladiator was merely a broken
+toy tossed aside. Their tragedies were largely limited to Nemesis, the
+Moirai, the Erinnydes, and lower forms, such as harpies. But
+occasionally one gets a breath of mediævalism and its haunting
+mysteries. The Sleeping Fury at Rome, for instance,[202] where sleep
+steals in during a moment of respite from torture, is superb, and,
+moreover, stands almost alone in its presentment of a certain
+impelling tragedy, which, with the advent of Christianity, became an
+integral and dominating feature of its art.
+
+[Footnote 200: Victoria and Albert Museum, No. 7577, 1861. M.G.
+Dreyfus has a fine plaquette analogous to these large reliefs.]
+
+[Footnote 201: _Cf._, for instance, Madame André's Pietà lunette, or
+the stone "Lamentation" in Victoria and Albert Museum, No. 314, 1878,
+almost German in its harsh realism. This came from the Palazzo Lazzara
+at Padua.]
+
+[Footnote 202: In Ludovisi Buoncompagni Collection, Museo Nazionale,
+marble. _Cf._ also the bust of Minatia Polla, so called, which might
+be by Verrocchio.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SUPER ALTAR BY GIOVANNI DA PISA
+
+EREMITANI CHURCH, PADUA]
+
+
+[Sidenote: Donatello's Assistants.]
+
+The variety of workmanship at Padua would be an infallible proof that
+Donatello had the assistance of a number of disciples, even if we had
+no documentary evidence on the point. Bandinelli refers to their
+numbers: when needing help he wrote to the Grand Duke saying that
+Donatello always had eighteen or twenty assistants, without whose aid
+it would have been impossible for him to have made the Paduan
+altar.[203] But we also possess bills, contracts, and schedules, in
+which we can find the names of Donatello's _garzoni_. The work, it
+must be remembered, was not wholly confined to sculpture: among the
+earliest recorded payment to Donatello is that for structural work on
+the Loggia (30, iii. 1444). Giovanni Nani of Florence was already
+engaged there (3, iii. 43) as a sort of master mason on Donatello's
+arrival: he made the marble pedestal for the crucifix (19, vi. 47),
+and several others are mentioned in a subordinate capacity, such as
+Niccolo Cocaro (23, iv. 49), Meo and Pipo of Florence (30, iv. 49),
+Antonio of Lugano, _taia pria_ (12, v. 49); Bartolomeo of Ferrara went
+to Valstagna to open up the quarry--_una montagna de lo alabastro_
+(13, viii. 46). Employment was also given to Jacomo, a goldsmith (9,
+v. 48), to Squarcione the painter (21, xi. 47), to Moscatelo, the
+maker of majolica (v. 49), and to Giovanni da Becato, who made a metal
+grille behind the altar. Francesco del Mayo and Andrea delle Caldiere
+were the chief bronze casters; a dozen or fifteen other names are
+recorded. None of these can have had much influence on the sculpture
+itself; but there were men of greater calibre, Giovanni da Pisa,
+Urbano da Cortona, Antonio Celino of Pisa, and Francesco Valente of
+Florence. Though called _garzoni_ and _disipoli_ of Donatello (June
+and Sept. 47), they soon became men of trained capacity, and were
+specifically mentioned in some of the contracts. Thus it appears that
+each was entrusted with one of the evangelist's symbols; they were
+also largely responsible for the bronze choristers (27, iv. 46). Their
+whims and idiosyncrasies are visible in many particulars: in the halos
+for instance. The gospel emblems all have halos, likewise most of the
+singing children, whereas there are none on the Madonna and the great
+statues of canonised saints on the altar. But it is impossible here to
+enter upon the most interesting problem of their respective shares on
+the altar sculpture, and how far they were independent of Donatello
+beyond the chiselling and polishing of the bronze; the subject would
+need discussion at too great length. It is, however, worth while to
+refer to some of their work, for which they were exclusively
+responsible. Thus the Fulgosio tomb in the Santo, and the superaltar
+in the Eremitani at Padua (though much disfigured by paint), show
+that Giovanni da Pisa was influenced by Donatello to a remarkable
+degree. The composition of the altar consists of a broad relief of the
+Madonna with three saints on either side of her: below it is a
+_predella_ divided into three panels; above, a frieze of dancing
+children similar to those on the pulpits of San Lorenzo. The
+composition is crowned by a tympanum and _putti_ suggested by
+Donatello's Annunciation. Several of the larger figures might almost
+be the work of Donatello, though the personality of Giovanni makes
+itself felt throughout. Urbano of Cortona was another interesting man.
+He received a commission to decorate the chapel of the Madonna delle
+Grazie in the Sienese Cathedral,[204] and he had to make the Symbols
+of the Evangelists: _nel fregio ... si debi fare IIII. evangelisti in
+forma d'animali_. Donatello himself, _excellentissimus sculptor, seu
+magister sculture_,[205] was commissioned later on to work in this
+chapel; but there can be no doubt that the angel of St. Matthew, now
+preserved in the Opera del Duomo,[206] is the work of Urbano. It is
+the identical design of the emblem on the Paduan altar, pleasant in
+its way, but differing in all the material elements of charm; but it
+is an important document in that it shows a further stage in the
+evolution of Donatello through the hand of a painstaking pupil. Of
+Celino and Valente our knowledge is less--perhaps because there was
+never any friction between the master and his assistants, which gives
+so unenviable a record to the relation of Michael Angelo with his
+pupils.[207] The two inscriptions on the background of the Miracle of
+the Miser's Heart, read as follows: "S. ANT. DI GIOV DE SE E
+SUOR[=U]": and "[=S] DI PIERO E BARTOLOMEO E SU[=O]." They have been
+variously interpreted. Some have suggested that they indicate the
+names of donors, or that the letter s means _sepulchrum_, and that
+they are in the nature of epitaphs. It would seem more probable that
+they are signatures of those who were occupied in giving final touches
+to the chiselling of the background.
+
+[Footnote 203: 7, xii. 1549. Printed in Bottari, ii. 70.]
+
+[Footnote 204: 19, x. 1451. Milanesi, ii. 271.]
+
+[Footnote 205: 17. x. 1457; _ibid._ 295.]
+
+[Footnote 206: Marble, No. 149.]
+
+[Footnote 207: The rules of the Sienese guild of painters provided
+against strife within their own circles by imposing a fine upon
+whoever _dicesse vilania o parole ingiuriose al retore_: Art. 55.
+Milanesi, i. 25.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB OF GIOVANNI, SON OF GENERAL GATTAMELATA
+
+PADUA]
+
+
+[Illustration: _Alinari_
+
+TOMB OF GENERAL GATTAMELATA
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: SHRINE OF ST. JUSTINA
+
+LONDON]
+
+
+[Sidenote: Bellano and the Gattamelata Tombs.]
+
+One other sculptor, Bellano, is said by Vasari to have been so much
+affected by Donatello's influence that the work of the two men was
+often indistinguishable. This places Bellano too high. Scardeone, it
+is true, says he was _mirus coelatura_;[208] but Gauricus is more
+accurate in calling him _ineptus artifex_.[209] He was really a
+lugubrious person, though on rare occasions he made a good thing,
+such, for instance, as the statuette of St. Jerome, belonging to M.
+Gustave Dreyfus. But his large bas-relief of St. Anthony and the
+Mule[210] is stiff and laboured. The tomb of Roycelli, the _monarcha
+sapientie_ in the Santo, with its wealth of poverty-stricken
+decoration, shows that Bellano was a man who could work on a large
+scale, but whose sense of fitness and harmony was weak. So also the
+Roccabonella fragments, in spite of a rugged, rough-hewn appearance,
+show an absence of ethical and intellectual qualities; while the fussy
+and breathless reliefs round the choir of the Santo are farcical in
+several respects. There was another man influenced by Donatello, who
+must be nameless pending further investigation: his style cannot be
+identified with anything on the great altar, but he was a sculptor of
+immense power. He made the so-called shrine of Santa Giustina in
+London,[211] and the two Gattamelata monuments in the Santo. These
+tombs are very simple, consisting of the effigies of the two
+Condottieri, fully armed, but with bared heads. Below is a broad stone
+relief of children holding the scroll between them, as on the Coscia
+tomb in Florence. Above is a lunette containing painting, the whole
+composition being framed by a severe moulding, and surmounted by the
+family crest and badge. They are most remarkable. The two recumbent
+figures lie calm and peaceful: they show the ennobling aspect of
+death, the belief in a further existence. This sculptor with his
+sensitive touch makes us realise the migration. To "make the good end"
+was, indeed, a product of Christianity: antiquity was content if a
+man parted from life "handsomely." Greek art can, of course, show no
+sign of the Christian virtues of death. Like the Egyptians, their
+object was to present the dead as still alive, even where the aid
+of fiction had to be invoked. To them sleep and death are often
+indistinguishable; often again one is left in doubt as to which of the
+figures on a funeral relief represents the departed. With death the
+human body, having ceased to be the home of life, ceased also to be a
+welcome theme of art. These two Gattamelatas, father and son, have
+fought the good fight, and in the carved effigy acquire a statuesque
+repose which is full of dignity and pathos. The famous warrior of
+Ravenna, Guido Guidarelli as he is called, though of a later date, is
+fashioned in the same spirit; showing, moreover, certain peculiarities
+in the armour which one notices in the tombs at Padua. The d'Alagni
+monument in S. Domenico at Naples, and a tomb in the Carmine of Pisa,
+are similar in respect of sentiment. So, too, is the shrine of Santa
+Giustina in London, of which the details as well as the organic
+treatment leave no doubt as to its authorship, so closely does it
+resemble the tomb of Giovanni Gattamelata. It is a work of singular
+refinement and beauty. We see the recumbent figure of the saint on the
+façade of a sarcophagus, at either side of which are little angels
+made by the same hand and at the same date as those on Giovanni's
+tomb. Santa Giustina is modelled in low-relief; the sculptor seems to
+draw in the stone, and the drapery is like linen: not a blanket or
+counterpane, but some thin clinging material which is moulded to the
+form below. In some ways this precious work is analogous to the more
+famous bas-relief belonging to the Earl of Wemyss, the St. Cecilia
+which has been ascribed to Donatello. This wonderful thing is not well
+known: it has been seldom exhibited, and the photograph by which it is
+usually judged is taken from a reproduction moulded a generation ago.
+The original, of rather slaty Lavagna stone, has never been
+photographed, and the cast, many thousands of which exist, entirely
+fails to show the intangible and diaphanous qualities of the original.
+The widespread popularity of the St. Cecilia would (if possible) be
+enhanced were we more familiar with the genuine work itself. It is
+certainly one of the most accomplished examples of Italian plastic
+art; not, indeed, by Donatello himself, for there is a softness and
+glamour which cannot be associated with his chisel. But it has the
+unequalled tenderness and grace for which the Gattamelata tomb is
+so notable, placing its nameless author in the highest ranks of
+Italian sculpture.
+
+[Footnote 208: "De antiq. urbis Patavii," 1560, p. 374.]
+
+[Footnote 209: "De Sculptura," 1504, gathering f.]
+
+[Footnote 210: Marble, in Sacristy of S. Antonio.]
+
+[Footnote 211: Victoria and Albert Museum, No. 75, 1879.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+GENERAL GATTAMELATA
+
+PADUA]
+
+
+[Sidenote: Gattamelata.]
+
+Erasmo Narni, General Gattamelata, died in 1443, and the Venetians,
+whom he had honourably served, granted the privilege of a site in the
+tributary town of Padua for the monument, the cost of which was borne
+by the family of the dead Condottiere. Donatello had to reconstruct
+the anatomy of a horse on a colossal scale. He was faced by the
+formidable task of making the first equestrian bronze statue erected
+in Italy during the Renaissance, and no model existed except the
+antique statue of Marcus Aurelius at Rome. Donatello was, however,
+familiar with the four horses on the façade of San Marco at Venice. He
+undertook to complete the Gattamelata monument by September 1453, but
+the bulk of the casting was finished as early as 1448, though the
+chiselling and chasing of the bronze required further work for two or
+three years. The statue was placed on the pedestal before the agreed
+date, and a conference was held at Venice to settle the price.[212]
+There were four assessors on either side, and it was finally agreed
+that the total payment should be a sum equivalent to about two
+thousand guineas in our own day. Donatello does not seem to have been
+hampered by his lack of experience. The work is adroitly handled, the
+technical difficulty of welding the large pieces of bronze is
+successfully overcome, and the metal is firm and self-supporting.
+There are faults, of course, though the fact that the horse ambles
+need not be considered an error. But the relative proportions of the
+horse and rider are not quite accurately preserved, Gattamelata being,
+if anything, rather below the right scale. The monument is, however,
+so massive and grandiose that criticism seems out of place; indeed, in
+the presence of the statue one feels that everything is subordinated
+to the power and mastery of Gattamelata himself. The general is
+bareheaded, and the strong courageous face is modelled with directness
+and energy. The gesture is commanding, and he rides easily in the
+saddle. Colleone's statue at Venice is superior in many ways: yet the
+radical distinction between them is that whereas Gattamelata is the
+faithful portrait of a modest though successful warrior, it must be
+confessed that Verrocchio makes an idealised soldier of fortune, full
+of bravado and swagger, a _Malbrook s'en va-t-en guerre_ of the
+Quattrocento. But, striking as the contrast of sentiment is,
+noticeable alike in the artist and his model, these two statues remain
+the finest equestrian monuments in the world, their one possible rival
+being Can Grande at Verona. Donatello has decorated Gattamelata's
+saddle and armour with a mass of delicate and vivacious detail, which
+modifies the severity without distracting the eye. The _putti_ which
+act as pommels to the saddle are delightful little figures, and the
+damascened and chased fringes of the armour are excellent. Moreover,
+the armour does not overweight the figure. The horse, of rather a
+thick and "punchy" breed, is well suited to carry a heavy load; he is
+full of spirit, and is neighing and chafing, as the old critics
+pointed out. An enormous wooden horse, some twenty-four feet long, is
+preserved in the Sala della Raggione at Padua. It used to belong to
+the Capodalista family, and has been considered Donatello's model
+for the Gattamelata charger. This is unlikely, and it was more
+probably used in some procession, being ridden by a huge emblematic
+figure. It is improbable that Donatello should have done more than
+sketch the design; but the head of the horse is admirable, with the
+feathery ears and bushy topknot which one finds in the Venice
+quadriga, on Gattamelata's steed, and on the colossal bronze head of a
+horse now preserved in the Naples Museum. This used to be considered
+an antique, but it is now established beyond all question that
+Donatello made it; and it was presented in 1471 to Count Mataloni by
+Lorenzo de' Medici. It is an interesting work, defective in some
+places, and treated similarly to classical examples; indeed, Donatello
+was obviously influenced in all his equine statuary by the most
+obvious classical horses at his command, namely, those at Venice. He
+does not seem to have taken ideas from the Marcus Aurelius, which he
+had not seen for upwards of ten years when commissioned to make the
+Gattamelata. The base of the statue is simple, but scarcely worthy of
+the monument it supports. The pedestal made by Leopardi for the
+Colleone monument is both more decorative and dignified. On
+Donatello's pedestal there are two marble reliefs of winged boys
+holding the general's helmet, badge and cuirass. The reliefs on the
+monument are copies of the maimed originals now preserved in a dark
+passage of the Santo cloister. There must be many statues elsewhere,
+now taken for originals, which are nothing more than replicas of what
+had gradually perished. If one closely examines the sculpture on some
+of the church façades--Siena Cathedral, for instance--one finds that
+most of the statues are only held together by numberless metal ties
+and clamps; and one may safely assume that many of those in really
+good condition have been placed there at later dates.
+
+[Footnote 212: 29, vi. 1453. Donatello is still described as _abitante
+in Padova_.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+COLLEONE
+
+VENICE]
+
+
+[Sidenote: Smaller Reliefs and Plaquettes.]
+
+The Gattamelata reliefs seem to be sixteenth-century work. They show a
+detail of which Donatello and his scholars were fond, namely, the
+Medusa's head. It reappears on the Martelli Patera[213] and on the
+sword-hilt in the Royal Armoury at Turin. The former has been ascribed
+to Donatello, but the attribution is untenable. It is a bronze
+medallion of a Satyr and Bacchante, executed with much skill, but not
+recalling the spirit or handling of Donatello. It is an admirable
+example of the bronze-work which became popular in Northern Italy, to
+which Donatello gave the initial impetus, and which soon became
+ultra-classical in style. The sword-hilt is more interesting, and it
+is signed "Opus Donatelli Flo." Some of the detail has a richness
+which might suggest rather a later date; but the general outline,
+especially the small crouching _putti_, was, no doubt, designed by the
+master. The history of this curious and unusual specimen is unknown,
+and it is outside Donatello's sphere of activity. Michael Angelo, it
+may be remembered, also had the caprice of making a sword for the
+Aldobrandini family. The manufacture of plaquettes, small bronze
+plates which were widely used for decorating caskets, inkstands,
+candlesticks, &c., became a specialised art; and some of these dainty
+reliefs are possibly made from Donatello's own designs. There are,
+however, a few larger bronzes of greater importance in which his
+personality was able to assert itself more freely than in the reduced
+plaquettes. But the work of scholars and imitators has been
+frequently mistaken for Donatello's own productions. Thus the Ambras
+(Vienna) relief of the Entombment, with its exaggerated ideas of
+classical profile, must be the work of a scholar. The Sportello at
+Venice[214] also shows later Renaissance decoration in its rich
+arabesques, though two hands seem to have been employed--the four
+central _putti_ and the two angels being more Donatellesque than the
+remainder. The relief of the Flagellation in Paris[215] is more
+important, as we have a rugged and severe treatment both in the
+subject and its execution: but the summary treatment of such details
+as the hair makes one doubtful if Donatello can have been wholly
+responsible. A somewhat analogous Flagellation in Berlin[216] is the
+work of a clever but halting plagiarist. He has inserted a
+Donatellesque background of arches showing the lines of stonework, and
+a pleasant detached girl who reminds us of the figure on the Siena and
+St. George reliefs. But the imitator's weak hand is betrayed by the
+anatomy of the three principal figures. The positions are those of
+force and energy, but there is no tension or muscular effort, and
+there is no vestige of vigour in the rounded backs and soft limbs.
+Even if Donatello furnished the original sketch, it is quite
+impossible that he should have executed or approved the carving.
+Madame André's Martyrdom of St. Sebastian is work in which the
+finishing-touches were probably added by a pupil, but this striking
+composition shows dramatic qualities which one must associate with
+Donatello himself. So also the tondo Madonna belonging to M. Gustave
+Dreyfus, in which the figures are ranged behind a balustrade, making
+the "garden enclosed"--a popular symbolical treatment of the Virgin
+and Child--is doubtless from one of Donatello's designs.[217] Though
+imperfect, the London Deposition or Lamentation[218] is an important
+work, and has a value as showing the methods of fastening figures in
+relief on to the foundation of the background, though in this case the
+bulk of the background is missing. Three other reliefs should be
+mentioned, all representing Christ on the Cross. Of these, the Berlin
+example,[219] though sadly injured since its acquisition for the
+museum, is notable; being, in fact, a genuine sketch by Donatello
+himself, and in a degree comparable to the clay study of the same
+subject in London.[220] The bronze relief, belonging to Comte Isaac de
+Camondo in Paris, is a most remarkable work of the Paduan period.
+Donatello has succeeded in conveying the sense of desolating tragedy
+without any adventitious aid of violence or movement. The whole thing
+is massive, and treated with a studied simplicity which concentrates
+the silence and loneliness of the scene. It is superb, and superior to
+a varied treatment of the same subject in the Bargello. In this
+well-known relief the crowded scene is full of turmoil and confusion.
+In the foreground are the relatives and disciples of Christ. Many
+soldiers are introduced, some of whom closely resemble the tall
+men-at-arms in Mantegna's frescoes at Padua. Donatello's hand is
+obvious in the angels and in the three crucified figures, which are
+modelled with masterly conviction. The rest of the composition has
+been ruthlessly gilded and chased until the statuesque lines are lost
+in a mass of tiresome detail; which is regrettable, for the conception
+is fine.
+
+[Footnote 213: Victoria and Albert Museum, No. 8717, 1863.]
+
+[Footnote 214: Museo Archeologico, Doge's Palace.]
+
+[Footnote 215: Louvre, "His de la Salle Collection," No. 385.]
+
+[Footnote 216: Marble, No. 39 B.]
+
+[Footnote 217: _Cf._ a Donatellesque stucco Madonna beneath a
+_baldachino_ belonging to Signor Bardini, who also possesses a stucco
+Entombment similar to the London bronze.]
+
+[Footnote 218: Victoria and Albert Museum, No. 8552, 1863. Bronze.]
+
+[Footnote 219: Stucco No. 41.]
+
+[Footnote 220: See p. 62.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+MADONNA AND CHILD
+
+SIENA CATHEDRAL]
+
+
+[Illustration: _W.A. Mansell_
+
+"PAZZI" MADONNA
+
+BERLIN]
+
+
+[Sidenote: The Madonnas.]
+
+A whole treatise would be required to describe all the Madonnas which
+have been attributed to Donatello. Within the limits of this volume
+the discussion must be confined to certain groups which are directly
+related to him, ignoring a much larger number of subordinate interest.
+The tendency is to ascribe to Donatello many more than he can possibly
+have made--varying inversely from the attitude of modern criticism,
+which has asserted that not twenty paintings by Giorgione have
+survived. Hundreds of artists must have made these Madonnas, of which
+only a small minority are in bronze or marble. Many names of sculptors
+are recorded to whom we can only attribute one or two works; the
+remainder being generically ascribed to the school of some great man,
+and often enough to the great man himself. The bulk of these reliefs
+of the Madonna and Child are in stucco, terra-cotta, carta pesta and
+gesso--cheap malleable materials which were easily and rapidly worked:
+the reliefs were manufactured in great numbers for the market. Then
+again, well-known works were cast, and small differences in colour and
+finish often gave them the semblance of original work. Vasari says
+that almost every artist in Florence possessed a cast of Pollaiuolo's
+battle-piece.[221] Such facsimiles are eagerly sought after nowadays,
+and are treated as genuine works of the sculptor. It must also be
+remembered that during the last decades there has been a systematic
+multiplication of these reliefs, and that forgeries can be found in
+most of the great collections of Europe. The first difficulty
+encountered in trying to discept between Donatello and his school, is
+that authenticated examples from which to make our inductions are very
+rare. Donatello certainly made Madonnas in relief: Vasari mentions
+half a dozen; Neroccio, the Sienese sculptor, possessed _una Madonna
+di gesso di Donatello_.[222] There are Madonnas on the tombs of Pope
+John and Cardinal Brancacci. The latter shows no trace of Donatello's
+craft, and the former is of indifferent merit, and was certainly not
+made by Donatello alone. There are two Madonnas at Padua, one the
+large altar statue, the other a tiny relief three inches in diameter
+on one of the bronze Miracle panels. The sources of stylistic data are
+therefore most scanty. One may say generally that in the authenticated
+Virgins as well as in the other heads of women, Donatello makes a
+marked nasal indenture, thus separating him from those later men who
+drew their heads with the classical profile, showing a straight and
+continuous line from the forehead down the nose. But even this cannot
+be pressed too far. As regards the Christ, Donatello seems to preserve
+the essence and immaturity of childhood. His treatment of the Child is
+never hieratic, and it is always full of warm human sentiment. The
+Paduan relief, for instance, is almost a _genre_ representation of a
+mother and child, domestic and intimate, with nothing but the halos to
+indicate the higher meaning of the theme. Having said so much, we come
+to the other Madonnas which are assigned on various grounds to
+Donatello: those known as the Madonnas Pazzi, Orlandini, Siena
+Cathedral, Pietra Piana; the London oval, the Madonna of the Rose,
+the Capella Medici group, and the Piot and Courajod Madonnas in the
+Louvre. All of these have one or more features which conflict with our
+ideas of Donatello. It is impossible to say that any one of them must
+inevitably be by Donatello himself; none of them carry their own
+sign-manual of authenticity. The Pazzi Madonna in Berlin[223] is now
+generally ascribed to Donatello himself, and certainly no more
+grandiose version of the subject exists. The Virgin is holding up the
+Child close to her beautiful face; she broods over him, and the
+countenance is full of foreboding. The solemnity of the large Paduan
+Madonna is visible here, and it is only made to apply to the Virgin,
+for the Child is a typical _bambino_. So, too, in the relief outside
+the transept door of Siena Cathedral we find this grim careworn
+expression and the sense of impending drama: the massacre of the
+Innocents is still to come. This relief, a marble _tondo_, is in such
+abnormally perfect condition that one wonders if it may not be a later
+_replica_ of some original which the atmosphere disintegrated.
+Donatello must have provided the design; at any rate, it is difficult
+to suggest an alternative name. The four winged cherubs are, however,
+lifeless and ill-drawn, while the Christ is more like some of the
+_putti_ on the Aragazzi reliefs than Donatello's typical boy. The
+share of Michelozzo in the reliefs ascribed to Donatello is larger
+than has been hitherto acknowledged. The Orlandini Madonna[224] yearns
+like a tigress as she holds up her child and gazes into its face; here
+again we have a composition for which Donatello must have been
+primarily responsible, though the full profile is attributable to
+inefficient handling of the marble rather than to deliberate
+intention. Signor Bardini's version of this relief has a delicacy
+lacking in the original; one touch of colour removes a certain
+awkwardness of the profile. The Madonna in the Via Pietra Piana at
+Florence belongs to a different category. Here again the design is
+Donatellesque, but the face of the Madonna has a dull and vacant look;
+not only is it without the powerful modelling of the Pazzi or Siena
+reliefs, but it shows none of the sentiment for which those two
+Madonnas are so remarkable. There are several reproductions in Berlin
+and London,[225] all differing from the Florentine version in the
+drapery of the head-dress. Closely related to this Madonna is another
+composition which only exists in soft materials.[226] The Virgin, with
+long wavy hair, looks downwards towards her Child, who is looking
+outwards to the spectator. This is a work of merit, with something
+attractive in the anxious and clinging attitude of the Madonna. The
+large clay Madonna and Child in London,[227] the Christ sitting in a
+chair and the Virgin with hands joined in worship, has been the
+subject of much controversy. There are good grounds for doubting its
+authenticity. The angular treatment of the head and a dainty roundness
+of the wrist often indicate that Bastianini had a share in this class
+of work.[228] This relief has all the merits and demerits of the
+circular Piot Madonna in the Louvre.[229] Here, too, the handling of
+Bastianini has been detected, though there is a clumsiness which is
+seldom seen in the productions of that distinguished artist. The frame
+and the background, which are integral features of the composition,
+can leave no doubt as to the origin of this work. But the Piot relief
+has an interest which the London terra-cotta cannot boast, for a
+fifteenth-century original from which the copyist worked is in
+existence, now belonging to Signor Bardini. This is a tondo Madonna of
+uncoloured stucco, of no particular value in itself; but it is the
+model from which the Piot sophistication was contrived; or else it is
+a cast from the lost original of marble. It reveals all the whims of
+the copyist: the treatment of the hands, the lissome tissue of the
+drapery, and the angular structure of the skull. A less interesting
+forgery is the marble Madonna in London.[230] Three reproductions of
+the lost Donatellesque original exist, the Berlin copy[231] being in
+stucco, that at Bergamo terra-cotta. Signor Bardini has an effaced and
+poor copy of the same relief, in which the hand of the Madonna is
+obviously meant to be holding something; but the stucco has been much
+rubbed away and one cannot tell the original intention of the
+sculptor. But the two other genuine versions are in better condition
+and supply the answer, showing that the Virgin held a large rose
+between her fingers. The man who made the London relief copied from
+the incomplete version, and carved an empty meaningless hand with the
+fingers grasping something which does not exist.
+
+[Footnote 221: v. 100.]
+
+[Footnote 222: Mentioned in his will. He died in 1500. Milanesi, iii.
+p. 8.]
+
+[Footnote 223: Marble, No. 39. Versions in soft materials exist in the
+Louvre, in the André and Bardini Collections, and a variant in the
+Victoria and Albert Museum, No. 7590, 1861.]
+
+[Footnote 224: Marble, Berlin Museum.]
+
+[Footnote 225: Victoria and Albert Museum, No. 7412, 1860; Berlin
+Museum; collections of Herr von Beckerath and Herr Richard von
+Kaufmann.]
+
+[Footnote 226: Louvre, Berlin Museum; Verona, in the Viccolo Fogge;
+_cf._ also the relief under the archway in the Via de' Termini,
+Siena.]
+
+[Footnote 227: Victoria and Albert Museum, No. 57, 1867.]
+
+[Footnote 228: Giovanni Bastianini, 1830-68, though the _doyen_ of
+forgers, did not profit by his dexterity, and died almost penniless.]
+
+[Footnote 229: Terra-cotta.]
+
+[Footnote 230: Victoria and Albert Museum, No. 8376, 1863.]
+
+[Footnote 231: No. 53 E. Bergamo, Morelli Collection, No.
+53.]
+
+[Illustration: _Alinari_
+
+MADONNA AND CHILD
+
+LOUVRE (NO. 389), PARIS]
+
+The little oval Madonna in London[232] is a work of much interest. It
+is coloured stucco, and Dr. Bode, who has dated it as early as
+1420-30, believes it to be the first example of the _Santa
+conversazione_ in Italian plastic art. A variant belonging to Dr.
+Weisbach in Berlin is of equal importance, and both are probably
+original works and not casts. The Berlin relief is not so thickly
+painted as the London medallion, and shows signs of the actual
+modelling. There are contradictions in these valuable works. The
+music-making angels are like a figure on the Salome relief at Siena:
+but they are also related to Luca della Robbia's reliefs on the
+Campanile, and to a terra-cotta Madonna in London[233] (which reminds
+one of the Pellegrini Chapel); Matteo Civitale uses a similar type on
+the tomb of St. Regulus at Lucca; while the crowned saint of the
+London version was copied at a later date on a well-known plaquette
+forming the lid of a box of which several examples exist.[234] The
+figure of the Madonna and Child also suggests another hand; and with
+the exception of the stone relief in the Louvre, and another derived
+from it at Padua,[235] it is the only case in which the Virgin is not
+shown in profile. These latter works are bold and vigorous, and must
+be ultimately referred to Donatello, the head of the Madonna being
+rendered by fluent and precise strokes of the chisel. A bronze relief
+in the Louvre (No. 390), which came from Fontainebleau, has
+Donatellesque motives; but the spiral coils of hair, and still more
+the fact that the Virgin's breasts are hammered into the likeness
+of _putti_'s faces--wholly alien to Donatello's serious
+ideas--sufficiently prove it to belong to the later Italian school
+which flourished at the French Court. The Courajod Madonna (Louvre,
+389) is modestly called a schoolpiece; but it is a work of first-class
+importance, for which Donatello is to be credited. This is a very
+large relief in painted terra, the Madonna being in profile to the
+left, with a wan and saddened expression. The arm is stiff and wooden,
+while the undercutting of the profile, like that of the Siena tondo,
+is so pronounced that, when standing close to the wall on which the
+relief is fixed, one can see the Virgin's second eye--unduly prominent
+and much too near to the nose. This is a needless and distracting
+mannerism, though, of course, the blemish is only noticeable from one
+point of view, being quite invisible as one sees the relief from the
+front, or in a photograph. The Berlin Museum has another large Madonna
+comparable for its scale and rich colouring to the Courajod relief.
+This came from the convent of Santa Maria Maddalena de' Pazzi at
+Florence.[236] The Child, draped in swaddling-clothes, stands up
+leaning against the Virgin, who looks downwards. Above them are four
+cherubs, full of character and vivacity, the whole composition being
+typical of Donatello, though naturally enough much of the primitive
+colouring has disappeared during the last four centuries. One other
+group remains to be noticed, founded upon the large marble relief in
+the Capella Medici of Santa Croce.[237] We detect Donatello's ideas,
+but no sign of his handiwork: neither was he responsible for the
+composition, of which the governing feature is a total absence of his
+masterly occupation of space. There are also florescent details in the
+halos, drapery, and so forth, which are closer to Agostino di Duccio
+than to Donatello. Though not all by the same sculptor, these reliefs
+are most interesting and suggestive, showing the growth and activity
+of a small school which drew some inspiration from Donatello while
+preserving its own individuality. We find an intricate treatment of a
+very simple idea. As compositions, Donatello's Madonnas were always
+simple. But our knowledge of the subject is still empirical, and until
+the problem has been further sifted by the most severe tests of
+research and criticism, our opinions as to Donatello's personal share
+in the array of Madonnas must remain subject to revision.
+
+[Footnote 232: Victoria and Albert Museum, No. 93, 1882.]
+
+[Footnote 233: _Ibid._ No. 7594, 1861.]
+
+[Footnote 234: One was in the Spitzer Collection, another belongs to
+M. Gustave Dreyfus.]
+
+[Footnote 235: No. 294, Davillier bequest; and in the entrance hall to
+the Sacristy of the Eremitani at Padua.]
+
+[Footnote 236: Terra-cotta No. 39a.]
+
+[Footnote 237: The others are Victoria and Albert Museum, No. 7624,
+1861, marble. Berlin Museum, stucco. Madame André, marble, finer than
+the London version. Marquise Arconati-Visconti, Paris, marble, and a
+rough uncoloured stucco in the Casa Bardini.]
+
+       *       *       *       *       *
+
+[Illustration: _W.A. Mansell_
+
+MADONNA (BERLIN)
+
+FROM SANTA MARIA MADDALENA DEI PAZZI, FLORENCE]
+
+
+[Illustration: _Alinari_
+
+SIDE PANEL OF PULPIT
+
+SAN LORENZO, FLORENCE]
+
+
+[Sidenote: The Pulpits of San Lorenzo.]
+
+Donatello was sixty-seven when he returned from Padua. He seems to
+have been unsettled during his later years, undertaking ambitious
+schemes which he did not execute, and hesitating whether Florence or
+Siena should be the home of his old age. The bronze pulpits of San
+Lorenzo[238] are the most important works of this period, and they
+were left unfinished at his death. Donatello was an old man, and the
+work bears witness to his advancing years. Bandinelli says that the
+roughness of the modelling was caused by failing eyesight,[239] and it
+is obvious that, notwithstanding the signs of feverish activity,
+and an apparent desire to get the work finished, much was left
+uncompleted at his death. The pulpits were not even erected until a
+later date; some of the panels were subsequently added in wood, and
+others do not correctly fit into the structural design. But the genius
+of Donatello shines through the finishing-touches of his assistants.
+Drama is replaced by tragedy; and in these panels the concluding
+incidents of the Passion are pictured with intense earnestness and
+pathos. But Donatello would not allow gloom to monopolise his
+composition. The paradox of the pulpits consists in the frieze of
+_putti_ above the reliefs: _putti_ who dance, play, romp, and run
+about. Some of them are busily engaged in moving a heavy statue:
+others are pressing grapes into big cauldrons. The boy dragging along
+a violoncello as big as himself is delightful. The contrast afforded
+by this happy and buoyant throng to the unrelieved tragedy below is
+strikingly unconventional; and the spirit of both portions is so well
+maintained that there is neither conflict of emotion nor sense of
+incongruity. The scenes (including those added at a later date) are
+sixteen in number. Except the later reliefs of St. John, St. Luke, the
+Flagellation, and the Ecce Homo, all are of bronze, upon which more
+care seems to have been expended than on the clay models from which
+they were cast. On the southern pulpit the scene on the Mount of
+Olives shows the foreshortened Apostles sleeping soundly as in
+Mantegna's pictures. Christ before Pilate and Christ before Caiaphas
+are treated as different episodes, in two similar compartments of one
+great hall, separated by a large pier. The Crucifix and the Deposition
+are, perhaps, the most remarkable of all these reliefs: corresponding
+in many ways to works already described; but not having been
+over-decorated like the Bargello relief, show greater dignity and less
+confusion. The background of the Deposition is flat, but broken here
+and there by faintly-indicated horsemen; naked boys riding on shadowy
+steeds like those vague figures which seem to thread their way through
+some panel of Gothic tapestry. There is an element of _stiacciato_ in
+the Entombment, giving it the air of a mystery rather than of an
+historical fact. The draperies are thin and graceful, suited to the
+softer modelling of the limbs: some of the faces are almost dainty.
+Passing to the northern pulpit, we come to three scenes divided by
+heavy buttresses, but unified by figures leaning against them, and
+overstepping the lateral boundaries of the reliefs. The subjects are
+the Descent into Limbo, the Resurrection and the Ascension. The link
+between the two former is a haggard emaciated Baptist. The Christ is
+old and tired. The people who welcome him in Limbo are old and tired,
+feebly pressing towards the Saviour. The Roman guards lie sleeping,
+self abandoned in their fatigue, while Christ, wearied and suffering,
+steps from the tomb with manifest effort. One feels that the physical
+infirmities of the artist are reflected in these two works, so vivid
+in their presentment of the heavy burden of advanced years. But in the
+Resurrection a fresh note is struck. The bystanders are gathered round
+the Christ, who gives the Benediction. His robe is held back by little
+angels, and the scene is pervaded by an atmosphere of staid and
+decorous calm. Donatello has treated this relief in a more archaic
+spirit. The absence of paroxysms of acute grief, giving a certain
+violence to other parts of the pulpits, makes the contrast of this
+relief more effective; but, even so, this scene of the Ascension is
+fraught with dramatic emphasis. The Descent of the Holy Ghost is
+less interesting. There is a monotony in the upraised hands, while the
+feeling of devotional rhapsody is perhaps unduly enforced. The relief
+of the Maries at the Tomb, which occupies the western end of this
+pulpit, is almost Pisanesque in the relative size of the people to the
+architecture. There is a combination of trees and pilasters seeming to
+support the long low roof beneath which the incident is portrayed. A
+curious feeling of intimacy is conveyed to the spectator. The pulpits
+are full of classical details--far more so than in anything we find at
+Padua. It is very noticeable in the armour of the soldiers, in their
+shields bearing the letters S.P.Q.R. and the scorpion, and in the
+antique vases which decorate the frieze. The centaurs holding the
+cartel on which Donatello has signed his name are, of course,
+classical in idea, while the boys with horses are suggested by the
+great Monte Cavallo statues.[240] Then, again, the architecture is
+replete with classical forms; in one relief Donatello introduces the
+Column of Trajan. But here, as elsewhere, the classicisms are held in
+check, and never invade or embarrass the dominant spirit of the
+Quattrocento. How far Donatello was helped by assistants must remain
+problematical in the absence of documentary evidence. Bellano and
+Bertoldo were in all probability responsible for a good deal. In the
+relief of St. Laurence it is possible that Donatello's share was
+relatively small. Moreover, one part of the frieze of children is so
+closely allied to the work of Giovanni da Pisa at Padua, that one is
+justified, on stylistic grounds, in suggesting that he may also have
+been employed. But it is certain that the share of Bellano must have
+been limited to the more technical portion of the work, for there is
+happily nothing to suggest the poverty of his inventive powers. These
+pulpits are very remarkable works; they have an inexhaustible wealth
+of detail in which Donatello can be studied with endless pleasure. The
+backgrounds are full of his architectural fancy, and the sustained
+effort put forth by Donatello is really astonishing. But he was an
+octogenarian, and there are signs of decay. Michael Angelo and
+Beethoven decayed. Dante and Shakespeare were too wise to decay;
+Shelley and Giorgione died too young. But the sculptor's intellect
+must be reinforced by keen eyes and a steady hand: of all artists,
+Nature finds him most vulnerable. Donatello's last work shows the
+fatigue of hand and eye, though the intellect never lost its ardent
+and strenuous activity. There was no petulance or meanness in his old
+age, no decadence; he merely grew old, and his personality was great
+until the end.
+
+[Footnote 238: Properly speaking, they are ambones. They stand in the
+west end of the nave of the church close to the junction of the
+transepts.]
+
+[Footnote 239: 7, xii. 1547. "_... Donato non fece mai la più brutta
+opera_," &c. Letter printed in Bottari, i. 70.]
+
+[Footnote 240: It is probable that these famous horses were mere
+wrecks in the fifteenth century. At any rate, Lafreri's engraving of
+1546 shows one of them without breast or forelegs, the remainder of
+the horse being nothing but a large pillar of brick. Herr von Kaufmann
+has an admirable statuette of Donatello's latter period modelled from
+the horses on the San Lorenzo frieze. _Cf._ also Mantegna in the
+Madonna di San Zeno, Verona.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+END PANEL OF PULPIT
+
+SAN LORENZO, FLORENCE]
+
+
+[Sidenote: Donatello's Influence on Sculpture.]
+
+The influence of Donatello on his three greatest contemporaries was
+small. Jacopo della Quercia always retained his own massive style.
+Luca della Robbia and Ghiberti--the Euphuist of Italian
+sculpture--were scarcely affected by the sterner principles of
+Donatello. All four men were, in fact, exponents of distinct and
+independent ideas, and handed on their traditions to separate groups
+of successors. Nanni di Banco and Il Rosso were, however, impressed
+by Donatello's monumental work, while other sculptors, such as Simone
+Fiorentino, Vecchietta, Michelozzo, Andrea del Aquila and Buggiano
+(besides much anonymous talent) were largely influenced by him. It is
+owing to the fact that Donatello was the most influential man of his
+day that so many "schoolpieces" exist.[241] The influence on his
+successors is less easily determined, except so far as concerns the
+men who worked for him at Padua, together with Riccio, the most
+skilful bronze caster of his day, who indirectly owed a good deal to
+Donatello. But Urbano da Cortona and his colleagues produced little
+original work after their return from Padua: their training seems to
+have merged their individuality into the dominant style of Donatello;
+and much of their subsequent work is now ascribed to Donatello or his
+_bottega_. Verrocchio, whom Gauricus calls Donatello's rival, owes
+little or nothing to the elder man, and the versatile sculptors who
+outlived Donatello, such as Rossellino, Benedetto da Maiano, Mino da
+Fiesole and Desiderio, show relatively small traces of his influence.
+But Donatello's sculpture acted as a restraining influence, a tonic:
+it was a living protest against flippancy and carelessness, and his
+influence was of service even where it was of a purely negative
+character. Through Bertoldo Donatello's influence extended to Michael
+Angelo, affecting his ideas of form: But Jacopo della Quercia, who was
+almost as great a man as Donatello, is the prototype of Michael
+Angelo's spirit. Jacopo ought to have founded a powerful, indeed an
+overwhelming school of sculpture at Siena. Cozzarelli, Neroccio, and
+the Turini just fail to attain distinction; but their force and
+virility should have fructified Jacopo's ideas and developed a supreme
+school of monumental sculpture. As regards Michael Angelo, there can
+be no question of his having been influenced by Donatello's St. John
+the Evangelist and the Campanile Abraham. The _Madonna delle
+treppe_[242] in a lesser degree is suggested by Donatello. The Trinity
+on the niche of St. Louis again reminds one of Michael Angelo's
+conception of the Eternal Father. His Bacchus in Berlin[243] was held
+to be the work of Donatello himself, and the Pietà in St. Peter's has
+also a reminiscence of the older master. But in all these cases the
+resemblance is physical. The intellectual genius of Michael Angelo
+owed nothing to Donatello. Condivi records one of Michael Angelo's
+rare _obiter dicta_ about his predecessors[244] to the effect that
+Donatello's work, much as he admired it, was inadequately polished
+owing to lack of patience. The criticism was not very sagacious, and
+one would least expect it from Michael Angelo, of whose work so much
+was left unfinished. But, at any rate, Donatello commanded his
+approval, and contributed something to one of the greatest artists of
+the world. But the ideals of Michael Angelo were too comprehensive to
+be derived from one source or another, too stupendous to spring from
+individuals. He sought out the universal form: he took mankind for his
+model; and while he typified humanity he effectively denationalised
+Italian sculpture.
+
+[Footnote 241: _E.g._, work wrongly attributed to Donatello: the
+figure of Plenty in the courtyard of the Canigiani Palace, Florence;
+the Lavabo in San Lorenzo; the two figures on the famous silver altar
+at Pistoja; the bronze busts in the Bargello; the font at Pietra
+Santa; chimney-pieces, gateways, _stemme_, and numberless Madonnas and
+small bronzes.]
+
+[Footnote 242: Casa Buonarroti, Florence.]
+
+[Footnote 243: From the Gualandi Collection. It is attributed by some
+to a Neapolitan sculptor.]
+
+[Footnote 244: "Vita," 1553, p. 14.]
+
+       *       *       *       *       *
+
+[Sidenote: Early Criticism of Donatello.]
+
+Donatello's activity is the best testimonial to the appreciation of
+his work during his lifetime. Sabba del Castiglione was proud to
+possess a specimen of Donatello's sculpture.[245] Commissions were
+showered on him in great numbers, and Gauricus says that he produced
+more than all his contemporaries.[246] Flavius Blondius of Forli
+compares him favourably with the ancients.[247] Bartolomeo Fazio
+warmly praised Donatello, his junior.[248] Francesco d'Olanda[249] and
+Benvenuto Cellini[250] also admired him. Lasca credited Donatello with
+having done for sculpture what Brunellesco did for architecture:
+
+    "_E Donatello messe la scultura
+       Nel dritto suo sentier ch' era smarrita
+     Cosi l'architettura
+       Storpiata, e guasta alle man' de' Tedeschi...._"
+
+and so forth.[251] Another early poem, the _Rappresentazione_ of King
+Nebuchadnezzar, shows the great popularity of Donatello in the humbler
+walks of life.[252] Vasari's rhetoric led him to say that Donatello
+was sent by Nature, indignant at seeing herself caricatured.[253]
+Bocchi claims that, having equalled the ancients and surpassed the
+sculptors of his own day, Donatello's name will live in the perpetual
+memory of mankind.[254]
+
+[Footnote 245: "Ricordi," 1554, p. 51.]
+
+[Footnote 246: "De Sculptura," 1504, gathering f. "Donatellus ...
+_aere ligno, marmore laudatissimus, plura hujus unius manu extant
+opera, quam semel ab eo ad nos cæterorum omnium_."]
+
+[Footnote 247: "Italia Illustrata," Bâle, 1531, p. 305. "_Decorat
+etiam urbem Florentiam ingenio veterum laudibus respondente, Donatello
+Heracleotae Zeusi aequiparandus, ut vivos, juxta Virgilii verba, ducat
+de marmore vultus._"]
+
+[Footnote 248: "De Viris illustribus," Florence ed. 1745, p. 51.
+"_Donatellus ... excellet non aere tantum, sed etiam marmore
+notissimus, ut vivos vultus ducere, et ad antiquorum gloriam proxime
+accedere videatur._"]
+
+[Footnote 249: "Dialogues," Raczynski ed. Paris, 1846, p. 56.]
+
+[Footnote 250: "Due Trattati," ed. Milanesi, 1857, passim.]
+
+[Footnote 251: "Due Vite di Brunellesco," p. 142.]
+
+[Footnote 252: Semper, 321.]
+
+[Footnote 253: "Lem.," iii. 243, in first edition.]
+
+[Footnote 254: 1677 edition.]
+
+       *       *       *       *       *
+
+[Sidenote: Character and Personality of Donatello.]
+
+Donatello must be judged by his work alone. His intellect is only
+reflected in his handicraft. We know little about him, but all we know
+bears tribute to his high character. The very name by which he was
+called--Donatello--is a diminutive, a term of endearment. His
+generosity, his modesty, and a pardonable pride, are recorded in
+stories which have been generically applied to others, but which were
+specific to himself. He shared his purse with his friends:[255] he
+preferred plain clothing to the fine raiment offered by Cosimo de'
+Medici;[256] and he indignantly broke the statue for which a Genoese
+merchant was unwilling to pay a fair price.[257] He was recognised as
+a man of honourable judgment, and he was called upon to act as
+assessor several times. The friend of the Medici, of Cyriac of Ancona,
+of Niccolo Niccoli, the greatest antiquarian of the day, and of Andrea
+della Robbia, one of the pall-bearers at his funeral, must have been a
+man of winning personality and considerable learning. But he was
+always simple and naïve: _benigno e cortese_, according to
+Vasari,[258] but as Summonte added with deeper insight, his work was
+far from simple.[259] He is one of the rare men of genius against whom
+no contemporary attack is recorded. He was content with little;[260]
+his life was even-tenored; his work, though not faultless, shows a
+steady and unbroken progress towards the noblest achievements of
+plastic art.
+
+[Footnote 255: Gauricus, b. 1.]
+
+[Footnote 256: Vespasiano de' Bisticci, Vite.]
+
+[Footnote 257: "Vasari," iii. 253.]
+
+[Footnote 258: _Ibid._ iii. 244.]
+
+[Footnote 259: "_Fo in Fiorenza ad tempo de' nostri padri Donatello
+huomo raro, semplicissimo in ogni altra cosa excepto che in la
+scultura_."]
+
+[Footnote 260: Matteo degli Orghani, writing in 1434, says: "_Impero
+che è huomo ch' ogni picholo pasto è allui assai, e sta contento a
+ogni cosa_." Guasti, iv. 475. Donatello died in 1466, probably on
+December 15. He was buried in San Lorenzo at the expense of the
+Medici. Masaccio painted his portrait in the Carmine, but it is lost.
+The Louvre panel No. 1272, ascribed to Paolo Ucello, shows the
+painter, Manetti, Brunellesco, and Donatello. Monuments have been
+recently erected to the sculptor in his native city. For Donatello's
+homes in Florence, see "Misc. Fiorentina," vol. i. No. 4, 1886, p. 60,
+and "Miscellanea d'arte," No. 3, 1903, p. 49.]
+
+
+
+
+APPENDICES
+
+
+
+
+APPENDIX I
+
+WORK LOST OR NOT EXECUTED
+
+
+_Padua._--For the Santo altar, a figure of God the Father, stone; a
+Deposition and the remaining bas-reliefs mentioned in the "Anonimo
+Morelliano;" a St. Sebastian, wood; a Madonna in the church of the
+Servi.
+
+_Ferrara._--Donatello probably worked there; in 1451 he visited the
+town as an assessor. Gualandi, iv. 35.
+
+_Modena._--Donatello also visited this town in 1451, and received a
+first instalment towards the equestrian statue of Borso d'Este.
+Campori, "Gli artisti Italiani." Modena, 1855, p. 185.
+
+For _Mantua_ he made a large number of works, including columns,
+capitals, images of the Madonna in stone and terra-cotta, a St. Andrew
+in tufo, &c.; also the design for a shrine of St. Anselm. See
+documents in Archivio Storico Lombardo, 1886, p. 666. At _Rome_ a St.
+John Baptist, "Una testa" in the Minerva Church, and the portrait of
+Canon Morosini in Santa Maria Maggiore.
+
+At _Siena_ a Goliath, a silver crucifix, gates for the Cathedral, and
+a marble statue of San Bernardino.
+
+At _Ancona_ and _Orvieto_ statues of St. John the Baptist.
+
+At _Florence_ the following works are lost: the Dovizia, a figure of
+Plenty, which stood in the Mercato Vecchio; two bronze heads for the
+Cantoria; the Colossi for the Cathedral; four large stucco Saints in
+San Lorenzo; a statue with drapery of gilded lead made with
+Brunellesco. San Rossore for Ogni Santi; a reliquary of Santa Verdiana
+(Richa, ii. 231); Albizzi tombs. The Cathedral gates were never made.
+Bocchi, Cinelli, Vasari, and Borghini mention a large number of
+smaller works now unidentified; plaquettes, Madonnas, crucifixes,
+heraldic shields, busts and reliefs.
+
+
+
+
+APPENDIX II
+
+DOCUMENTS
+
+
+These are printed as specimens of the original authorities upon which
+our authentic knowledge of Donatello is based.
+
+
+A.
+
+Denunzia de' Beni of 1427, stating Donatello's home, his substance,
+his partnership with Michelozzo; referring also to the bronze relief
+for the Siena Font and the figure of San Rossore. Also a list of the
+sculptor's family. (Gaye, i. 120.)
+
+Donato di nicholo di betto, intagliatore, prestanziato nel quartiere
+di Sco. Spirito, gonfalone nichio, in fior. 1. s. 10 den. 2. Sanza
+niuna sustanza, eccietto un pocho di maserizie per mio uso edella mia
+famiglia.
+
+E più esercito la detta arte insieme e a conpagnia con Michelozzo di
+bartolomeo, sanza niuna chorpo, salvo flor. 30 in più ferramenti et
+masserizie per detta arte.
+
+E di detta conpagnia e bottegha tralgho quella sustanza et in quello
+modo, che per la scritta della sustanza di Michelozzo sopradetto
+appare nel quartiere di Sco. Giovanni G. dragho, che dice in lionardo
+di bartolomeo di gherardo e frategli. Eppiù ò avere dall' operaio di
+duomo di Siena fior. 180 per chagione duna storia dottone, gli feci
+più tempo fa.
+
+Eppiù dal convento e frati dogni santi ò avere per chagione duna meza
+fighura di bronzo di Sco. rossore della quale non sà fatto merchato
+niuno. Chredo restare avere più che fior 30.
+
+truovomi con questa famiglia in chasa:
+
+Donato danni 40.
+M^a Orsa mia madre 80.
+M^a Tita mia sirochia, vedova, sanza dote 45.
+Giuliano figliuolo di detta M^a tita atratto 18.
+
+Sto a pigione in una chasa di ghuglielmo adimari, posta ne chorso
+degli adimari e nel popolo Sco. Cristofano,--paghone fior. 15 l'anno.
+
+
+B.
+
+The contract for the payment of 1900 florins to Donatello in respect
+of the Bronze Gates for the Sacristy doors of the Cathedral, a work
+which was subsequently entrusted to Luca della Robbia. (Semper, p.
+284.)
+
+21. ii. 1487. Item commiserunt Nicolao Johannotii de Biliottis et
+Salito Jacobi de Risalitis duobus ex eorum officio locandi Donato
+N.B.B. civi Florentino magistro intagli faciendo duas portas de bronzo
+duabus novis sacristiis cathedralis ecclesie florentine pro pretio in
+totum flor. 1900 pro eo tempore et cum illis pactis et storiis et
+modis pro ut eis videbitur fore utilius et honorabilius pro dicta
+opera et quidquid fecerint circa predictum intelligatur et sit ac si
+factum foret per totum eorum officium.
+
+
+C.
+
+Payment for casting the bronze statue of St. Louis for the Paduan
+altar; also for two of the Miracle reliefs and two symbols of the
+Evangelists. (Gloria.)
+
+19. vi. 1447. E a dì dicto avà M^o Andrea dal Mayo per far getare duy
+de i miracholli de S. Antonio e dui guagnelista e un S. Luixe. i quali
+va in lanchona de laltaro grande--lire 45 soldi 12.
+
+
+D.
+
+Payment to Donatello and some of his assistants (Gloria.)
+
+11. ii. 1447. E a dì ii dicto avè Donatello da Fiorenza per so nome de
+luy e de urbano e de Zuan da Pixa e de Antonio Celino e de Francesco
+del Vallente su garzon e de Nicolo depentor so desipollo over garzon
+per parte over sora la anchona over palla el dicto e i dicti de
+(_i.e._, devono) fare al altaro grande del curo (_i.e._, coro) del
+santo,--lire cento e soldi dexe.
+
+
+
+
+APPENDIX III
+
+BOOKS OF REFERENCE
+
+
+Albertini, "Memoriale di molte statues," 1863 (1st ed., Florence,
+1510).
+
+Anonimo Morelliano, "Notizie d'opere di disegno," written about 1530,
+1884 (1st ed. 1800).
+
+Bocchi, F., "Eccellenza della statua di San Giorgio," Florence, 1584;
+edited by Cinelli, "Bellezze della città di Firenze," 1677 (1st ed.
+1592).
+
+Bode, W., "Donatello à Padoue," Paris, 1883; "Florentiner Bildhauer
+der Renaissance," Berlin, 1902.
+
+Boïto, Camillo, "L'Altare di Donatello," Milan, 1897.
+
+Borghini, "Riposo," Florence, 1730 (1st ed. 1586).
+
+Bottari, G., "Lettere pittoriche," 8 vols. 1822 (1st ed.).
+
+Cellini, B., "Due Trattati," edited by Carlo Milanesi, 1857.
+
+Cicognara, "Storia della scultura," Venice, 1823, 7 vols.
+
+Gauricus, P., "De Sculptura," Florence, 1504.
+
+Gaye, "Carteggio inedito d'artisti," Florence, 1839, 3 vols.
+
+Ghiberti, L., "Commentaries" in Vasari, vol. i.
+
+Gloria, Michael Angelo, "Donatello fiorentino e le sue opere, ... in
+Padova," Padua, 1895.
+
+Gnoli, Article on "Donatello in Rome"; "Arch. storico dell' arte,"
+1888.
+
+Gonzati, "La Chiesa di S. Antonio di Padova," 1852, 2 vols.
+
+Gualandi, "Memorie," Bologna, 1840.
+
+Lindsay, Lord, "Christian Art," 1885, 2 vols.
+
+"L'Osservatore Fiorentino," 1821, 3 vols. (1st ed. 1797).
+
+Lusini, V., "Il San Giovanni di Siena," Florence, 1901.
+
+Milanesi, C., "Documenti dell' arte Senese," Siena, 1854, 3 vols.
+
+Milanesi, G., "Catalogo delle opere di Donatello," Florence, 1888.
+
+Molinier, E., "Les Plaquettes," Paris, 1886, 2 vols.
+
+Müntz E., "Les Précurseurs de la Renaissance," Paris, 1882;
+"Donatello," Paris, 1885.
+
+Perkins, C., "Tuscan Sculptors," 1864, 2 vols.
+
+Reymond, M., "La Sculpture Florentine," Florence, 1898.
+
+Richa, "Notizie istoriche," Florence, 1754, 10 vols.
+
+Schmarsow, A., "Donatello," Breslau, 1886.
+
+Semper, H., "Donatellos Leben und Werke," Innsbruck, 1887; "Donatello,
+seine zeit und Schule," Vienna, 1875.
+
+Semrau, M., "Donatello's Kanzeln in San Lorenzo," Breslau, 1891.
+
+Tanfani-Centofanti, "Notizie di Artisti ... Pisani," Pisa, 1898.
+
+Titi, "Ammaestramento Utile," Rome, 1686.
+
+Vasari, "Vite dei Pittori," Florence, Lemonnier, ed. 1846, 14 vols.
+(1st ed. 1550).
+
+Von Tschudi, "Donatello e la critica moderna," Turin, 1887.
+
+
+
+
+INDEX
+
+
+Abraham: statue, 10, 30
+
+Alberti, L.B.: on Art, 22
+
+Ambras: entombment, 177
+
+Ammanati: sculptor, 102
+
+Amorino: bronze, Bargello, 113, 114
+
+Ancona: Baptist for, 59
+
+André (Madame) Collection:
+  Prophet, 7;
+  St. John, 57;
+  profile warrior, 98;
+  bronze children, 114;
+  marble boy, 115;
+  Gonzaga bust, 127;
+  St. Sebastian, 177
+
+Andrew, St.: statue (lost), 199
+
+Annunciation: Sta. Croce, 49, 113, 154
+
+Anselm, St.: projected shrine, 199
+
+Antonio, St.: at Padua, bronze, 153
+
+Aquila, Andrea del: sculptor, 191
+
+Aragazzi: _see_ Tombs
+
+Architect: Donatello as, 59, 65
+
+Arduino: engineer, 143
+
+Aretino: letter from, 76
+
+_Assistants_, Donatello's:
+  Moscatello, 64, 168;
+  Giovanni da Pisa, 75, 168, 190, 203;
+  Nani, G., 167;
+  Cocaro, N., 168;
+  Meo of Florence, 168;
+  Pipo of Florence, 168;
+  Antonio of Lugano, 168;
+  Bartolommeo of Ferrara, 168;
+  Jacomo, goldsmith, 168;
+  Squarcione, 150;
+  Giovanni da Becato, 168;
+  Francesco del Mayo, 168;
+  Andrea delle Caldiere, 168;
+  Urbano da Cortona, 168, 169;
+  Francesco Valente, 168, 203;
+  Antonio of Pisa, 168;
+  Bellano, 170, 190;
+  Bertoldo, 189, 191
+
+Assumption: Brancacci tomb, 80
+
+Assyrian low relief, 81
+
+Athos, Mount: conventionalised art, 22
+
+Aurelius, M.: equestrian statue, 173
+
+
+Banco, Nanni di: sculptor, 30, 190
+
+Bandinelli, 46, 102, 186
+
+Baptist, St. John: _see_ St. John
+
+Baptistery gates, 2;
+  competition, 3;
+  Magdalen, 144;
+  Coscia tomb, 72
+
+Bardini Collection:
+  Madonna, 54, 185;
+  fountain, 66;
+  tomb slab, 85;
+  Crucifixion, 178
+
+Bas-relief: its limitations, 137
+
+Bastianini, 182
+
+Battoni, P.: painter, 145
+
+Becchi: shield, 68
+
+Beckerath: Madonna, 182
+
+Bellano, 170, 189, 190
+
+Benda Collection: bust, 118
+
+Benedetto da Maiano, 191
+
+Bentivoglio: medal of, 82
+
+Bergamo: Madonna, 183
+
+Berlin Museum:
+  bust, terra cotta, 120;
+  Gonzaga, bronze, 127;
+  bronze head of old man, 128;
+  St. John, bronze, 147;
+  putto, bronze, from Siena, 114;
+  Flagellation, marble, 178;
+  David, bronze, 52;
+  Madonnas, 180
+
+Bernardino, St.: projected statue, 146, 199
+
+Bertoldo, 189, 191
+
+Blondius, F., 193
+
+Bocchi: passim
+
+Bologna: sculpture at, 9, 85, 143
+
+Boni: shield, 68
+
+Boniface VIII.: statues of, 9
+
+Borso d'Este: projected statue, 199
+
+Botticelli, 99
+
+Bramantino: drawings, 90
+
+Brancacci: _see_ Tombs
+
+Bronzino, 52, 102
+
+Brosses, des: criticisms, 138, 144
+
+Brunellesco:
+  model for gates, 3;
+  co-operation with Donatello, 37, 200
+
+Buggiano, 191
+
+Busts:
+  Benda Collection, 118;
+  Dreyfus Collection, 118;
+  Duke of Westminster's Collection, 118;
+  Hainauer Collection, 119;
+  Faenza St. John, 119;
+  Martelli St. John, 118;
+  San Lorenzo, Florence, 126;
+  St. Cecilia, London, 126;
+  Gonzaga bronze, 127;
+  old man's head, bronze, 128;
+  Gattamelata, 99, 129;
+  Vanchettoni, 118;
+  Vecchio Barbuto, Florence, 130;
+  Roman Emperor, Florence, 130;
+  old woman, bronze, 130;
+  San Rossore, 130, 201;
+  Niccolò da Uzzano, 121
+
+
+Caldiere, Andrea, Donatello's bronze caster, 168
+
+Camondo, Comte de: Crucifixion, 178
+
+Canigiani: Palazzo, sculpture, 191
+
+Canon of Art, 20
+
+Cantoria:
+  San Lorenzo, 64;
+  Cathedral, 103, 107, 199;
+  Luca della Robbia's, 106-8
+
+Capodalista: horse, 175
+
+Castiglione: Sabba del, 119, 193
+
+Cecilia, St. (London), 126;
+  ditto, Lord Wemyss, 172
+
+Cellini, B., 141, 193
+
+Charge to Peter (London), 95
+
+Chartres Cathedral: statuary, 41
+
+Cherichini, supposed portrait of, 20
+
+Childhood, Donatello's representation of, 103
+
+Chimæra: Etruscan, 69
+
+Choristers of bronze, Padua, 163
+
+Cinelli: passim
+
+Ciuffagni: sculptor, 60, 66
+
+Civitali, M., sculptor, 13
+
+Classical influences, 4, 90, 103, 104;
+  architecture, 160
+
+Cocaro, Donatello's assistant, 168
+
+Colle, Simone da: sculptor, 3
+
+Colleone: equestrian statue, 150
+
+Colossi, 34
+
+Coronation window, 60
+
+Coscia: _see_ Tombs
+
+Cozzarelli: sculptor, 192
+
+Criticism on Donatello, early, 193;
+  later, 93
+
+Croce, Santa, sculpture in, 49, 113, 38
+
+Crowds: Donatello's treatment of, 156
+
+Crucifix: Santa Croce, 47, 156
+
+Crucifixion:
+  Bargello bronze, 178;
+  Camondo, bronze, 178;
+  Berlin, 178
+
+Cyriac of Ancona, 194
+
+
+Daniel: statue, 10
+  St., at Padua, bronze, 154
+
+Dante, 45, 90
+
+Davanzati: shield, 68
+
+David:
+  marble statue, 16;
+  Martelli's statue, 52;
+  bronze, 99;
+  Berlin, 52
+
+Dello: his epitaph, 13
+
+Denunzia, 1, 76, 201
+
+Desiderio, 133, 191
+
+Doni, A.: criticism of Ghiberti, 138
+
+Dovizia: statue, 142, 199
+
+Drapery: Donatello's treatment of, 31
+
+Drawings by Donatello, 60
+
+Dreyfus Collection:
+  marble bust, 118;
+  Christ and St. John, relief, 133;
+  St. Jerome, bronze, 170;
+  Madonna bronze, 177;
+  Verrocchio, putto, 105
+
+
+Eagle: the Walpole, 162
+
+Entombment:
+  Vienna, 177
+  Padua: marble, 161
+
+Eremitani altar, 169
+
+Evangelist symbols at Padua, 161
+  Siena, 169
+
+Eve: bas-relief, 142
+
+
+Faenza:
+  bust of St. John, 119;
+  St. Jerome, 148
+
+Faith: statuette at Siena, 71
+
+Fazio, B., 193
+
+Filarete, 91
+
+Flagellation:
+  London, 62;
+  Paris, 177;
+  Berlin, 177
+
+Flaxman's criticism, 93
+
+Florence:
+  Cathedral façade, 6, 8, 9;
+  cupola, 65;
+  cantoria, 107;
+  sacristy carving, 115;
+  window, 60;
+  colossi, 34;
+  gates, 200, 202
+
+Font:
+  Siena, 70, 105, 201;
+  at Pietra Santa, 191
+
+Fontainebleau: Madonna, 184
+
+Fountains, 66, 70
+
+Francis, St.: at Padua, 153
+
+Fulgosio: monument, Padua, 168
+
+
+Gagini: sculptors, 131
+
+Gattamelata:
+  bust, 99, 129;
+  tombs, 171;
+  equestrian statue, 173
+
+Gauricus, 60, 73, 193
+
+Gems: employment of, 97-99, 129
+
+George, St.:
+  statue, 39;
+  relief, 42, 72
+
+Ghiberti:
+  bronze gates, 3, 137;
+  relation with Donatello, 190;
+  classical ideas, 89, 91
+
+Ghiberti, Vettorio: drawings, 63, 74
+
+Ghini: Simone, 88
+
+Giacomone da Faenza: drawings, 155
+
+Gianfigliazzi: shield, 68
+
+Gilbert, Alfred, R.A., 82
+
+Giovanni da Pisa, 75, 168, 190, 203
+
+Giuliano: Donatello's nephew, 2, 202
+
+Goliath: statue (lost), 199
+
+Gonzaga, Louis of: bust, 127
+
+Gori: criticisms, 93
+
+Gothic Art:
+  Donatello's relations with, 5, 42;
+  survivals of, 91
+
+Gozzoli, Benozzo, 9
+
+Grouping: Donatello's ideas of, 30, 138, 142, 161
+
+Guidarelli: monument, 171
+
+
+Habakkuk: statue, 23
+
+Hands: Donatello's treatment of, 31
+
+Henry VII.: tomb of, 136
+
+Heraldic sculpture, 67
+
+Hertford House: reliefs, 110
+
+Hope: statuettes, 71, 75
+
+Horse of Colleone, 174;
+  Gattamelata, 173;
+  Capodalista, 174
+
+Horse's head: Naples, 175
+
+Horses of St. Mark's, Venice, 173;
+  of Monte Cavallo, 189
+
+
+Icarus in Greek Art, 165
+
+Ilaria del Caretto: tomb, 82
+
+Intarsia, 161
+
+Isotta da Rimini, 163
+
+
+Jeremiah: statue, 20
+
+Jerome, St.: Faenza, 148
+
+John XXIII.: _see_ Tombs, Coscia
+
+St. John Bapt.:
+  Campanile statue, 18;
+  Martelli statue, 56;
+  Bargello statue, 57, 58;
+  Dilke Collection, 57;
+  Orvieto, 59, 147;
+  Ancona, 59;
+  Rome, 56, 57;
+  Faenza, 119;
+  Louvre, 120;
+  Berlin, bronze, 146;
+  Berlin, terra-cotta, 120;
+  Siena, 146;
+  Venice, 146;
+  Hainauer Collection, 149
+
+St. John Ev.:
+  statue, 14;
+  reliefs, 134
+
+Judith, 140
+
+Justina, St.: at Padua, 154
+
+
+Kaufmann:
+  Madonna, 182;
+  statuette, 189
+
+
+Lafreri: engraver, 189
+
+Lasca, 193
+
+Lavabo, San Lorenzo, 67
+
+Laurana, F.: sculptor, 131
+
+Leopardi, 175
+
+Ligorio: architect, 90
+
+Lille relief, 5, 72, 113
+
+Lions in Florence, 67-9
+
+London collection:
+  Flagellation, 62;
+  charge to Peter, 95;
+  St. Cecilia, 126;
+  marble relief of woman, 132;
+  Magdalen, 149;
+  lamentation over dead Christ, 165;
+  shrine of St. Justina, 171;
+  Martelli patera, 176;
+  Deposition, bronze, 178;
+  oval Madonna, 184;
+  bronze boy, 115
+
+Lorenzo, San:
+  pulpits, 107, 186;
+  sacristy, 133, 139;
+  bronze doors, 135;
+  lavabo, 191;
+  statues perished, 199
+
+Lorenzetti; early paintings, 145
+
+Louis, St.:
+  bronze Santa Croce, 38;
+  bronze at Padua, 155, 202
+
+Louvre collection:
+  Pot tomb, 79;
+  bronze by Valadier, 97;
+  marble Baptist, 120;
+  drawings, 61;
+  Madonnas, 181-185;
+  painting of St. John, 120;
+  portrait of Donatello, 195;
+  Flagellation, 177
+
+Lucca, Siege of, 65
+
+Luke, St.: statue, 124
+
+Lytton, Earl of, medallion portrait, 82
+
+
+Madonnas:
+  Bardini, 54, 178, 181;
+  Beckerath, 182;
+  Berlin, Pazzi, marble, 181;
+  Orlandini, marble, 181;
+  S.M.M. dei Pazzi, 185;
+  Brancacci, 80;
+  Capella Medici, group, 185;
+  Courajod, 185;
+  Dreyfus Desiderio, 81, 177;
+  delle Treppe, 192;
+  Eremitani, Paris, 184;
+  Fontainebleau, 184;
+  Kaufmann, 182;
+  London-Weisbach, oval, 184;
+  Milan, Pierino da Vinci, 81;
+  Madonna of the Rose, London, 183;
+  Padua, large bronze, 152;
+  small relief, 180;
+  Pietra Piana, 182;
+  Piot, Louvre, 55, 183;
+  Quincy Shaw, 81;
+  Siena Cathedral, 181;
+  Verona, 182;
+  Wemyss, Earl of, 81
+
+Magdalen:
+  Florence baptistery, 144;
+  London, 149;
+  Berlin, 149
+
+Malatesta Annalena: bust, 130
+
+Mandorla door:
+  prophets, 7
+  profile heads, 34
+
+Manetti:
+  biographer, 63, 195;
+  supposed portrait, 11
+
+Mantegna: relation to Donatello, 96, 150, 161, 187
+
+Mark, St.: statue, 37
+
+Martelli, David, 52, 113;
+  patera, 176;
+  shield, 68;
+  St. John, 118
+
+Martin V.: tomb of, 88
+
+Marzocco, 67
+
+Masaccio: paintings by, 161, 164, 195
+
+Mataloni: horse's head, 175
+
+Medallions in Medici palace, 97
+
+Medallists, 59, 82
+
+Medici:
+  fountain, 166;
+  exile, 88, 97;
+  medallions, 97;
+  Lorenzo de', 175
+
+Medici, Capella, 185
+
+Mengs, R.: criticism by, 27, 93
+
+Meo: Donatello's assistant, 168
+
+Michael Angelo:
+  Moses, 15;
+  technique, 53, 101;
+  San Petronio, 71;
+  relation to Donatello's art, 192;
+  Bacchus, 192
+
+Michelozzo, 39, 43, 48;
+  partnership with Donatello, 72, 201;
+  Brancacci tomb, 77;
+  Aragazzi tomb, 76;
+  Prato pulpit, 109;
+  work at Milan, 115;
+  statues of St. John, 149
+
+Mino da Fiesole, 53, 191
+
+Miracle reliefs at Padua, 156
+
+Mocenigo: tomb, 14, 41
+
+Montepulciano, Pasquino da, 75
+
+Montorsoli, 46
+
+Morosini: medallion, 97, 199
+
+Moses: statue, 15
+
+
+Nani: Donatello's assistant, 167
+
+Nanni di Banco, 30, 190
+
+Naples:
+  Brancacci tomb, 77;
+  bronze horse's head, 175
+
+Narni: _see_ Gattamelata
+
+Neroccio: sculptor, 70, 180, 192
+
+Niccolò da Uzzano: bust, 121
+
+Niccolo Niccoli, 194
+
+Nollekens, 62
+
+Nude: studies from, 101
+
+
+Obadiah: statue, 18
+
+d'Olanda, Francesco, 193
+
+Orcagna, 6
+
+Orlandini, Madonna, Berlin, 181
+
+Orsa: Donatello's mother, 2, 202
+
+Or san Michele: niche, 63, 104
+
+Orvieto: Baptist for, 59
+
+
+Padua in 1443, 149;
+  work for altar, 149-176, 202
+
+Pagno di Lapo, 78, 83
+
+Painter: Donatello as, 59
+
+Parthenon, 25, 105, 122
+
+Pasquino da Montepulciano, 75
+
+Patera Martelli, 176
+
+Pazzi, Madonna, Berlin, 181
+
+Pazzi:
+  fountain, 66;
+  shield, 68;
+  frieze, 135
+
+Pellegrini: chapel, 135, 184
+
+Perseus, by Cellini, 141
+
+Perugino: drawing by, 60
+
+Peruzzi: drawings by, 60
+
+Peter, St.: statue, 36
+
+Petrarch, 90
+
+Piero, Niccolo di; sculptor, 124
+
+Pietà at Padua, bronze, 164
+
+Piot: Madonna, 65
+
+Pisa: Donatello at, 59, 78
+
+Pisano Niccolo, 91
+
+Pistoja: silver altar, 191
+
+Plaquettes, 176
+
+Pocetti, B.: drawing of façade of Duomo, 10
+
+Poggio:
+  statue, 12;
+  on Rome, 90
+
+Politics, influence of, 143
+
+Pollaiuolo: his battle-piece, 179
+
+Polychromacy, 121
+
+Portrait of Donatello, 195
+
+Pot tomb, Louvre, 79
+
+Prato pulpit, 109
+
+Procdocimus, St.: at Padua, bronze, 155
+
+Pulpit Prato, 109
+  San Lorenzo, 186
+
+
+Quaratesi: shield, 68
+
+Quercia: Jacopo della, 3, 70, 53;
+  his school, 191;
+  Siena font, 70
+
+
+Realism, 26
+
+Reymond, Marcel: criticism, 108
+
+Reynolds, Sir J.:
+  on drapery, 31;
+  on Gothic art, 45
+
+Riccio, 191
+
+Robbia:
+  Andrea della, 104;
+  Donatello's pall bearer, 194
+
+Robbia:
+  Luca della, 73;
+  cantoria, 106, 108;
+  portraits by, 125;
+  bronze doors, 135, 202;
+  lunettes, 151
+
+Rome:
+  Donatello's first journey to, 4;
+  statue of St. John at, 57;
+  Crivelli tomb, 83;
+  Donatello's second journey to, 88;
+  Rome in 1433, 88;
+  tabernacle in St. Peter's, 94
+
+Rossellino, 66, 91, 119, 191
+
+Rosso: sculptor, 18, 191
+
+Rossore, San: bust, 130, 201
+
+
+Savonarola, 21
+
+Sebastian, St.:
+  bronze, M. André, 177
+  wood (now lost), 199
+
+Sense of distance, 23
+  light and shade, 29
+  proportion, 30
+  nature, 27
+
+Sermoneta: Duca di, 9
+
+Shields:
+  heraldic, 67;
+  Martelli, 68
+
+Siena:
+  cathedral font, 70, 201;
+  figures from font, 114, 105;
+  Pecci tomb, 84;
+  marble Madonna, 181;
+  St. John Baptist, 146;
+  statues on façade, 175
+
+Simone: sculptor, 2, 88, 191
+
+Soderini: supposed portrait of, 20
+
+Sogliani, T.: work on Magdalen, 144
+
+Sportello Venice, 177
+  Siena, 71
+
+Squarcione, 150
+
+Stiacciato, 80
+
+Strabo: on marble, 78
+
+Strozzi Filippo, 91
+
+Strozzi Palla, 150
+
+Summonte, 194
+
+Sword hilt at Turin, 176
+
+Symbols of Evangelists: Padua, 161
+
+
+Tabernacle in Rome, 94
+
+Technique: Donatello's, 53
+
+Tita: Donatello's sister, 2, 202
+
+Tombs:
+  Coscia, drawings for, 61;
+  history of, 72;
+  Brancacci, 73, 77;
+  Assumption, 80;
+  Martin V., 88;
+  Aragazzi, 73, 76;
+  Medici Giovanni de', 72;
+  Caretto, 82;
+  Sixtus IV., 82;
+  Albizzi, 83;
+  Chellini, 83;
+  Accaiuoli, 83;
+  Crivelli, 83;
+  Pecci, 84;
+  Scaligers, 86;
+  Rococo style, 87;
+  Saltarello, 109;
+  Fulgosio, 168;
+  Gattamelata, 171;
+  Roycelli, 170
+
+Torrigiano, 80, 136
+
+Turin sword hilt, 176
+
+Turini, 70, 192
+
+
+Ucello, Paolo: painter, 69, 195
+
+Uffizzi gallery: drawings, 60
+
+Urbano da Cortona, 191
+
+Uzzano, Niccolò da: bust, 121
+
+
+Valadier: sculptor, 97
+
+Valente: Donatello's assistant, 168, 203
+
+Vandalism, 8
+  in Rome, 88
+
+Vasari: passim
+
+Vecchietta: sculptor, 191
+
+Venice: horses of St. Mark's, 173
+  statue of St. John, 146
+  Sportello, 177
+
+Verdiana, St.: reliquary, 200
+
+Verona:
+  Madonna, 182;
+  sculpture on cathedral, 124;
+  sculpture on San Zeno, 124
+
+Verrocchio, 73, 99, 101, 105, 174
+
+Vienna: entombment, 177
+
+Vinci: Leonardo da, 22, 29, 66
+
+Visconti, Marquise A.: Collection, 132, 185
+
+
+Wallace Collection: reliefs, 110
+
+Warfare: Donatello and, 65
+
+Weisbach: Madonna, 184
+
+Wemyss, Earl of, collection:
+  Madonna, 81;
+  St. Cecilia, 172;
+  Walpole eagle, 162
+
+Wood: employment in sculpture, 148
+
+
+Zeno, San: Verona, 124
+
+Zuccone: statue, 26, 96
+
+
+Printed by BALLANTYNE, HANSON & CO.
+London & Edinburgh
+
+
+
+       *       *       *       *       *
+
+
+
+Uniform with this Volume
+
+MICHAEL ANGELO BUONARROTI
+
+BY
+
+CHARLES HOLROYD
+
+CURATOR OF THE NATIONAL GALLERY OF BRITISH ART
+
+With Fifty-two Illustrations
+
+
+"Mr. Holroyd has done excellent service. This story of a marvellous
+career is full of human charm.... Valuable book."--_Standard._
+
+"A serviceable and competent biography which many will be glad to
+see.... Numerous and excellent illustrations."--_Literary World._
+
+"A book that both the student and the general reader will find full of
+interest. Extremely interesting and vividly recorded."--_Westminster
+Gazette._
+
+"Mr. Holroyd's comprehensive study will be found useful and
+interesting. The illustrations are numerous and good."--_Manchester
+Guardian._
+
+"A really admirable picture of one who is perhaps the greatest
+personality in the history of Art; and a sympathetic, yet critical
+account of his works. Mr. Holroyd writes with knowledge and
+enthusiasm.... Numerous and well-executed illustrations."--_Yorkshire
+Post._
+
+"This excellent work ... is as suited to the general reader as to the
+artist. We do not find those deserts of literary speculation so common
+to the lives of artists."--_Spectator._
+
+"The volume gives in a convenient form almost everything that the
+student for whom it is intended will need to know about Michael
+Angelo, and will prove a safe guide to his works. The illustrations
+are well chosen.... We are especially grateful for the engravings of
+those frescoes in the Pauline Chapel which every one writes about and
+no one publishes."--_New York Evening Post._
+
+       *       *       *       *       *
+
+THE PUBLISHERS HAVE ARRANGED TO ISSUE A
+
+LIBRARY OF ART
+
+IN STYLE SIMILAR TO THIS VOLUME
+
+
+_ALL SCHOOLS AND PERIODS will be represented, but only the Greatest
+Masters will emerge as Biographies. The rest will be treated in
+relation to their fellows and forerunners as incidents of a
+development._
+
+_The Series will, it is hoped, reflect the subject in its true
+proportions more closely than has been attempted hitherto. At the same
+time, the scope of the Series will admit of occasional monographs on
+little-known artists, when some specialist has been able to throw
+light by new researches on an obscure period. The æsthetic side will
+not be neglected, but the aim will be to make the Series a store-house
+of that positive knowledge which must form the basis of all opinion._
+
+       *       *       *       *       *
+
+_The following is a List of the Volumes now arranged for_
+
+
+THE CRITICISM OF ART
+
+By A.J. FINBERG
+
+
+SIX GREEK SCULPTORS
+
+MYRON, PHEIDIAS
+POLYKLEITOS, SKOPAS, PRAXITELES, AND LYSIPPOS
+
+By ERNEST GARDNER
+
+Professor of Greek Archæology at University College, London
+
+
+ROMAN ART, FROM AUGUSTUS TO CONSTANTINE
+
+By Mrs. ARTHUR STRONG (EUGÈNIE SELLERS), LL.D.
+
+
+MEDIÆVAL ART, TO GIOTTO
+
+By W.R. LETHABY
+
+
+DUCCIO, AND THE BEGINNINGS OF ITALIAN PAINTING
+
+By PROFESSOR LANGTON DOUGLAS
+
+
+GIOTTO
+
+By B. DE SELINCOURT
+
+
+GHIRLANDAJO AND THE EARLIER FLORENTINES
+
+By BECKWITH SPENCER
+
+Assistant Professor at the South Kensington School of Art
+
+
+DONATELLO
+
+By LORD BALCARRES                                    [_Ready._
+
+
+PISANELLO
+
+By G.F. HILL
+
+Of the Department of Coins and Medals in the British Museum
+
+
+THE THREE BELLINI AND THE EARLIER VENETIANS
+
+By G. McNEIL RUSHFORTH
+
+Late Director of the British School at Rome
+
+
+MICHAEL ANGELO BUONARROTI
+
+By CHARLES HOLROYD                                [_Ready._
+
+
+RAPHAEL AND HIS SCHOOL IN ROME
+
+By C. RICKETTS
+
+
+TITIAN
+
+By DR. GEORG GRONAU
+
+
+DÜRER
+
+By T. STURGE MOORE
+
+
+CORREGGIO
+
+By T. STURGE MOORE
+
+
+FRENCH PAINTING IN THE SIXTEENTH CENTURY
+
+By L. DIMIER                                     [_Immediately._
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK DONATELLO***
+
+
+******* This file should be named 18099-8.txt or 18099-8.zip *******
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+<title>The Project Gutenberg eBook of Donatello, by David Lindsay, Earl of Crawford</title>
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+<h1>The Project Gutenberg eBook, Donatello, by David Lindsay, Earl of Crawford</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Donatello</p>
+<p>Author: David Lindsay, Earl of Crawford</p>
+<p>Release Date: April 1, 2006  [eBook #18099]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK DONATELLO***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Suzanne Lybarger, Linda Cantoni,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (<a href="http://www.pgdp.net/">http://www.pgdp.net/</a>)<br />
+    from page images generously made available by<br />
+    Internet Archive/Canadian Libraries<br />
+    (<a href="http://www.archive.org/details/toronto">http://www.archive.org/details/toronto</a>)</h3>
+<p>&nbsp;</p>
+<table border="0" cellpadding="10" style="background-color: #ccccff;">
+  <tr>
+    <td valign="top">
+      Note:
+    </td>
+    <td>
+      Images of the original pages are available through
+      Internet Archive/Canadian Libraries. See
+      <a href="http://www.archive.org/details/donatello00crawuoft">
+      http://www.archive.org/details/donatello00crawuoft</a>
+    </td>
+  </tr>
+</table>
+<p>&nbsp;</p>
+<div class="blockquot"><p><i><b>Transcriber's Note:</b></i> In the original text the name
+&quot;Verrocchio&quot; is, except for one instance, misspelled as
+&quot;Verrochio&quot;; the name &quot;Buonarroti&quot; is twice misspelled as
+&quot;Buonarotti&quot;; the name &quot;Orcagna&quot; is once misspelled as
+&quot;Orcagra&quot;; and the name &quot;Vasari&quot; is once misspelled as
+&quot;Vassari.&quot; These have been corrected in this e-text.
+Variants, archaic forms, or Anglicizations of other names
+(e.g., &quot;Michael Angelo&quot; for &quot;Michelangelo&quot;; &quot;Or San Michele&quot;
+for &quot;Orsanmichele&quot;; &quot;Brunellesco&quot; for &quot;Brunelleschi&quot;) have
+been retained as they appear in the original.</p>
+
+<p>This e-text contains a few words and phrases in Greek. In the
+original text, some of the Greek characters have diacritical marks which do not display
+properly in commonly used browsers such as Internet Explorer. In order to make this e-text
+as accessible as possible, the diacritical marks have been ignored. All text in Greek has
+a mouse-hover transliteration, e.g., <span lang="el" title="Greek: kalos">&#954;&#945;&#955;&#959;&#962;</span>.</p></div>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+
+<h1>DONATELLO</h1>
+
+<p>&#160;</p>
+
+<h2>BY LORD BALCARRES</h2>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center"><img src="images/deco.jpg" width="137" height="150" alt="decoration" /></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center">
+LONDON: DUCKWORTH AND CO.<br />
+NEW YORK: CHARLES SCRIBNER'S SONS<br />
+1903<br />
+</p>
+
+<p style="text-align: center"><i>All rights reserved</i></p>
+
+<p style="text-align: center">
+Printed by <span class="smcap">Ballantyne, Hanson &amp; Co.</span><br />
+At the Ballantyne Press<br />
+</p>
+
+<hr style="width: 35%;" />
+
+<p style="text-align: center">
+<a name="IMAGE01">
+<img src="images/image01.jpg" width="307" height="400" alt="Christ on the Cross" /></a></p>
+
+
+<p style="text-align: center"> <span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>CHRIST ON THE CROSS</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+<hr style="width: 35%;" />
+
+<p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2>PREFACE</h2>
+
+
+<p><span class="smcap">An</span> attempt is made in the following pages to determine the position
+and character of Donatello's art in relation to that of his
+contemporaries and successors. The subject must be familiar to many
+who have visited Florence, but no critical work on the subject has
+been published in English. I have therefore quoted as many authorities
+as possible in order to assist those who may wish to look further into
+problems which are still unsettled. Most of the books to which
+reference is made can be consulted in the Art Library at South
+Kensington, and in the British Museum. Foreign critics have written a
+good deal about Donatello from varied, if somewhat limited aspects.
+Dr. Bode's researches are, as a rule, illustrative of the works of art
+in the Berlin Museum. The main object of Dr. Semper was to collect
+documentary evidence about the earlier part of Donatello's life;
+Gloria and Gonzati have made researches into the Paduan period; Lusini
+confines his attention to Siena, Centofanti to Pisa; M. Reymond and
+Eug&#232;ne M&#252;ntz are more comprehensive in their treatment of the subject.</p>
+
+<p>With eleven or twelve exceptions I have seen the original of every
+existing piece of sculpture, architecture and painting mentioned in
+this book. I regret, however, that among the exceptions should be a
+work by Donatello<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span> himself, namely, the Salome relief at Lille&#8212;my
+visits to that town having unfortunately coincided with public
+holidays, when the gallery was closed. I must express my thanks to the
+officials of Museums, as well as to private collectors all over
+Europe, for unfailing courtesy and assistance. I have also to
+acknowledge my indebtedness to the invaluable advice of Mr. S. Arthur
+Strong, Librarian of the House of Lords.</p>
+
+<p>21.vi.1903</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2>CONTENTS</h2>
+
+<p>&#160;</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="contents">
+<tbody>
+<tr>
+  <td>&#160;</td>
+  <td align="right"><span class="smcap">page</span></td></tr>
+<tr><td align="left"><span class="smcap">Introduction</span></td>
+  <td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td align="left"><span class="smcap">Competition for the Baptistery Gates</span></td>
+  <td align="right"><a href="#Page_2">2</a></td></tr>
+<tr><td align="left"><span class="smcap">First Journey to Rome</span></td>
+  <td align="right"><a href="#Page_3">3</a></td></tr>
+<tr><td align="left"><span class="smcap">The Predecessors of Donatello</span></td>
+  <td align="right"><a href="#Page_5">5</a></td></tr>
+<tr><td align="left"><span class="smcap">First Work for the Cathedral</span></td>
+  <td align="right"><a href="#Page_7">7</a></td></tr>
+<tr><td align="left"><span class="smcap">The Cathedral Fa&#231;ade</span></td>
+  <td align="right"><a href="#Page_8">8</a></td></tr>
+<tr><td align="left"><span class="smcap">The Daniel and Poggio</span></td>
+  <td align="right"><a href="#Page_10">10</a></td></tr>
+<tr><td align="left"><span class="smcap">St. John the Evangelist and the marble David</span></td>
+  <td align="right"><a href="#Page_14">14</a></td></tr>
+<tr><td align="left"><span class="smcap">Statues of the Campanile</span></td>
+  <td align="right"><a href="#Page_17">17</a></td></tr>
+<tr><td align="left"><span class="smcap">St. John the Baptist</span></td>
+  <td align="right"><a href="#Page_18">18</a></td></tr>
+<tr><td align="left"><span class="smcap">Jeremiah and the Canon of Art</span></td>
+  <td align="right"><a href="#Page_20">20</a></td></tr>
+<tr><td align="left"><span class="smcap">Habakkuk and the Sense of Distance</span></td>
+  <td align="right"><a href="#Page_23">23</a></td></tr>
+<tr><td align="left"><span class="smcap">The Zuccone, &quot;Realism&quot; and Nature</span></td>
+  <td align="right"><a href="#Page_26">26</a></td></tr>
+<tr><td align="left"><span class="smcap">The Zuccone and the Sense of Light and Shade</span></td>
+  <td align="right"><a href="#Page_29">29</a></td></tr>
+<tr><td align="left"><span class="smcap">Abraham and the Sense of Proportion</span></td>
+  <td align="right"><a href="#Page_30">30</a></td></tr>
+<tr><td align="left"><span class="smcap">Drapery and Hands</span></td>
+  <td align="right"><a href="#Page_31">31</a></td></tr>
+<tr><td align="left"><span class="smcap">Minor Works for the Cathedral</span></td>
+  <td align="right"><a href="#Page_33">33</a></td></tr>
+<tr><td align="left"><span class="smcap">Or San Michele, St. Peter and St. Mark</span></td>
+  <td align="right"><a href="#Page_35">35</a></td></tr>
+<tr><td align="left"><span class="smcap">St. Louis</span></td><td align="right"><a href="#Page_38">38</a></td></tr>
+<tr><td align="left"><span class="smcap">St. George</span></td>
+  <td align="right"><a href="#Page_39">39</a></td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_viii" id="Page_viii">[Pg viii]</a></span><span class="smcap">Donatello and Gothic Art</span></td>
+  <td align="right"><a href="#Page_42">42</a></td></tr>
+<tr><td align="left"><span class="smcap">The Crucifix and Annunciation</span></td>
+  <td align="right"><a href="#Page_47">47</a></td></tr>
+<tr><td align="left"><span class="smcap">Martelli, David, and Donatello's Technique</span></td>
+  <td align="right"><a href="#Page_52">52</a></td></tr>
+<tr><td align="left"><span class="smcap">Early Figures of St. John</span></td>
+  <td align="right"><a href="#Page_56">56</a></td></tr>
+<tr><td align="left"><span class="smcap">Donatello as Architect and Painter</span></td>
+  <td align="right"><a href="#Page_59">59</a></td></tr>
+<tr><td align="left"><span class="smcap">The Siena Font</span></td>
+  <td align="right"><a href="#Page_70">70</a></td></tr>
+<tr><td align="left"><span class="smcap">Michelozzo and the Coscia Tomb</span></td>
+  <td align="right"><a href="#Page_72">72</a></td></tr>
+<tr><td align="left"><span class="smcap">The Aragazzi Tomb</span></td>
+  <td align="right"><a href="#Page_76">76</a></td></tr>
+<tr><td align="left"><span class="smcap">The Brancacci Tomb</span></td>
+  <td align="right"><a href="#Page_77">77</a></td></tr>
+<tr><td align="left"><span class="smcap">Stiacciato</span></td>
+  <td align="right"><a href="#Page_80">80</a></td></tr>
+<tr><td align="left"><span class="smcap">Tombs of Pecci, Crivelli, and Others</span></td>
+  <td align="right"><a href="#Page_82">82</a></td></tr>
+<tr><td align="left"><span class="smcap">The Second Visit to Rome</span></td>
+  <td align="right"><a href="#Page_88">88</a></td></tr>
+<tr><td align="left"><span class="smcap">Work at Rome</span></td>
+  <td align="right"><a href="#Page_94">94</a></td></tr>
+<tr><td align="left"><span class="smcap">The Medici Medallions</span></td>
+  <td align="right"><a href="#Page_97">97</a></td></tr>
+<tr><td align="left"><span class="smcap">The Bronze David</span></td>
+  <td align="right"><a href="#Page_99">99</a></td></tr>
+<tr><td align="left"><span class="smcap">Donatello and Childhood</span></td>
+  <td align="right"><a href="#Page_103">103</a></td></tr>
+<tr><td align="left"><span class="smcap">The Cantoria</span></td>
+  <td align="right"><a href="#Page_107">107</a></td></tr>
+<tr><td align="left"><span class="smcap">The Prato Pulpit</span></td>
+  <td align="right"><a href="#Page_109">109</a></td></tr>
+<tr><td align="left"><span class="smcap">Other Children by Donatello</span></td>
+  <td align="right"><a href="#Page_113">113</a></td></tr>
+<tr><td align="left"><span class="smcap">Boys' Busts</span></td>
+  <td align="right"><a href="#Page_116">116</a></td></tr>
+<tr><td align="left"><span class="smcap">Niccol&#242; da Uzzano and Polychromacy</span></td>
+  <td align="right"><a href="#Page_121">121</a></td></tr>
+<tr><td align="left"><span class="smcap">Portrait-busts</span></td>
+  <td align="right"><a href="#Page_125">125</a></td></tr>
+<tr><td align="left"><span class="smcap">Relief-portraits</span></td>
+  <td align="right"><a href="#Page_131">131</a></td></tr>
+<tr><td align="left"><span class="smcap">San Lorenzo</span></td>
+  <td align="right"><a href="#Page_133">133</a></td></tr>
+<tr><td align="left"><span class="smcap">The Bronze Doors</span></td>
+  <td align="right"><a href="#Page_135">135</a></td></tr>
+<tr><td align="left"><span class="smcap">The Judith</span></td>
+  <td align="right"><a href="#Page_140">140</a></td></tr>
+<tr><td align="left"><span class="smcap">The Magdalen and similar Statues</span></td>
+  <td align="right"><a href="#Page_144">144</a></td></tr>
+<tr><td align="left"><span class="smcap">The Altar at Padua</span></td>
+  <td align="right"><a href="#Page_149">149</a></td></tr>
+<tr><td align="left"><span class="smcap">The Large Statues</span></td>
+  <td align="right"><a href="#Page_152">152</a></td></tr>
+<tr><td align="left"><span class="smcap">The Bronze Reliefs</span></td>
+  <td align="right"><a href="#Page_156">156</a></td></tr>
+<tr><td align="left"><span class="smcap">The Symbols of the Evangelists</span></td>
+  <td align="right"><a href="#Page_161">161</a></td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_ix" id="Page_ix">[Pg ix]</a></span><span class="smcap">The Choir of Angels</span></td>
+  <td align="right"><a href="#Page_163">163</a></td></tr>
+<tr><td align="left"><span class="smcap">The Piet&#224; and the Entombment</span></td>
+  <td align="right"><a href="#Page_164">164</a></td></tr>
+<tr><td align="left"><span class="smcap">Donatello's Assistants</span></td>
+  <td align="right"><a href="#Page_167">167</a></td></tr>
+<tr><td align="left"><span class="smcap">Bellano and the Gattamelata Tombs</span></td>
+  <td align="right"><a href="#Page_170">170</a></td></tr>
+<tr><td align="left"><span class="smcap">Gattamelata</span></td>
+  <td align="right"><a href="#Page_173">173</a></td></tr>
+<tr><td align="left"><span class="smcap">Smaller Reliefs and Plaquettes</span></td>
+  <td align="right"><a href="#Page_176">176</a></td></tr>
+<tr><td align="left"><span class="smcap">The Madonnas</span></td>
+  <td align="right"><a href="#Page_179">179</a></td></tr>
+<tr><td align="left"><span class="smcap">The Pulpits of San Lorenzo</span></td>
+  <td align="right"><a href="#Page_186">186</a></td></tr>
+<tr><td align="left"><span class="smcap">Donatello's Influence on Sculpture</span></td>
+  <td align="right"><a href="#Page_190">190</a></td></tr>
+<tr><td align="left"><span class="smcap">Early Criticism of Donatello</span></td>
+  <td align="right"><a href="#Page_193">193</a></td></tr>
+<tr><td align="left"><span class="smcap">Character and Personality of Donatello</span></td>
+  <td align="right"><a href="#Page_194">194</a></td></tr>
+<tr><td align="left"><span class="smcap">Appendix I</span></td>
+  <td align="right"><a href="#Page_199">199</a></td></tr>
+<tr><td align="left"><span class="smcap">Appendix II</span></td>
+  <td align="right"><a href="#Page_201">201</a></td></tr>
+<tr><td align="left"><span class="smcap">Appendix III</span></td>
+  <td align="right"><a href="#Page_204">204</a></td></tr>
+<tr><td align="left"><span class="smcap">Index</span></td><td align="right"><a href="#Page_207">207</a></td></tr>
+</tbody>
+</table></div>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[Pg xi]</a></span></p>
+<h2>ILLUSTRATIONS</h2>
+
+<div class="blockquot"><p><i><b>Transcriber's Note:</b></i> The
+  illustrations in this e-text were moved from their original locations so as
+  not to break up the flow of the text. Therefore, links to the image captions,
+  rather than the page numbers, are provided in the table below.</p></div>
+
+<p>&#160;</p>
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="illustrations">
+<tbody>
+<tr><td align="left"><a href="#IMAGE01">Christ on the Cross</a></td>
+  <td align="center"><i>Frontispiece</i></td>
+  <td align="right">&#160;</td></tr>
+<tr><td align="left"><a href="#IMAGE02">Joshua</a></td><td align="center"><i>To face page</i></td>
+  <td align="right">10</td></tr>
+<tr><td align="left"><a href="#IMAGE03">Poggio</a></td><td align="center">&quot;</td><td align="right">12</td></tr>
+<tr><td align="left"><a href="#IMAGE04">Mocenigo Tomb</a></td><td align="center">&quot;</td>
+  <td align="right">14</td></tr>
+<tr><td align="left"><a href="#IMAGE06">Marble David</a></td><td align="center">&quot;</td>
+  <td align="right">16</td></tr>
+<tr><td align="left"><a href="#IMAGE05">St. John the Evangelist</a></td><td align="center">&quot;</td>
+  <td align="right">18</td></tr>
+<tr><td align="left"><a href="#IMAGE07">Jeremiah</a></td><td align="center">&quot;</td>
+  <td align="right">20</td></tr>
+<tr><td align="left"><a href="#IMAGE08">Habakkuk</a></td><td align="center">&quot;</td>
+  <td align="right">24</td></tr>
+<tr><td align="left"><a href="#IMAGE09">The Zuccone</a></td><td align="center">&quot;</td>
+  <td align="right">26</td></tr>
+<tr><td align="left"><a href="#IMAGE10">Abraham and Isaac</a></td><td align="center">&quot;</td>
+  <td align="right">30</td></tr>
+<tr><td align="left"><a href="#IMAGE11">St. Mark</a></td><td align="center">&quot;</td>
+  <td align="right">36</td></tr>
+<tr><td align="left"><a href="#IMAGE12">St. George</a></td><td align="center">&quot;</td>
+  <td align="right">40</td></tr>
+<tr><td align="left"><a href="#IMAGE13">St. George</a></td><td align="center">&quot;</td>
+  <td align="right">42</td></tr>
+<tr><td align="left"><a href="#IMAGE14">Annunciation</a></td><td align="center">&quot;</td>
+  <td align="right">48</td></tr>
+<tr><td align="left"><a href="#IMAGE15">San Giovannino</a></td><td align="center">&quot;</td>
+  <td align="right">56</td></tr>
+<tr><td align="left"><a href="#IMAGE16">St. John Baptist, Marble</a></td><td align="center">&quot;</td>
+  <td align="right">58</td></tr>
+<tr><td align="left"><a href="#IMAGE17">Clay Sketch of Crucifixion and Flagellation</a></td>
+  <td align="center">&quot;</td><td align="right">62</td></tr>
+<tr><td align="left"><a href="#IMAGE18">Niche of Or San Michele</a></td><td align="center">&quot;</td>
+  <td align="right">64</td></tr>
+<tr><td align="left"><a href="#IMAGE19">The Marzocco</a></td><td align="center">&quot;</td>
+  <td align="right">66</td></tr>
+<tr><td align="left"><a href="#IMAGE20">The Martelli Shield</a></td><td align="center">&quot;</td>
+  <td align="right">68</td></tr>
+<tr><td align="left"><a href="#IMAGE21">Salome Relief, Siena</a></td><td align="center">&quot;</td>
+  <td align="right">70</td></tr>
+<tr><td align="left"><a href="#IMAGE22">Tomb of Coscia, Pope John XXIII.</a></td><td align="center">&quot;</td>
+  <td align="right">72</td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_xii" id="Page_xii">[Pg xii]</a></span><a href="#IMAGE23">Effigy of Pope John XXIII.</a></td>
+  <td align="center">&quot;</td><td align="right">74</td></tr>
+<tr><td align="left"><a href="#IMAGE24">Tomb of Cardinal Brancacci</a></td><td align="center">&quot;</td>
+  <td align="right">78</td></tr>
+<tr><td align="left"><a href="#IMAGE25">Tomb Plate of Bishop Pecci</a></td><td align="center">&quot;</td>
+  <td align="right">86</td></tr>
+<tr><td align="left"><a href="#IMAGE26">Tabernacle</a></td><td align="center">&quot;</td>
+  <td align="right">94</td></tr>
+<tr><td align="left"><a href="#IMAGE27">The Charge to Peter</a></td><td align="center">&quot;</td>
+  <td align="right">96</td></tr>
+<tr><td align="left"><a href="#IMAGE28">The Bronze David</a></td><td align="center">&quot;</td>
+  <td align="right">100</td></tr>
+<tr><td align="left"><a href="#IMAGE29">Cantoria</a></td><td align="center">&quot;</td>
+  <td align="right">106</td></tr>
+<tr><td align="left"><a href="#IMAGE30">Cantoria (Detail)</a></td><td align="center">&quot;</td>
+  <td align="right">108</td></tr>
+<tr><td align="left"><a href="#IMAGE31">The Prato Pulpit</a></td><td align="center">&quot;</td>
+  <td align="right">110</td></tr>
+<tr><td align="left"><a href="#IMAGE32">Bronze Amorino</a></td><td align="center">&quot;</td>
+  <td align="right">114</td></tr>
+<tr><td align="left"><a href="#IMAGE33">San Giovannino</a></td><td align="center">&quot;</td>
+  <td align="right">118</td></tr>
+<tr><td align="left"><a href="#IMAGE34">Niccol&#242; da Uzzano</a></td><td align="center">&quot;</td>
+  <td align="right">122</td></tr>
+<tr><td align="left"><a href="#IMAGE35">Bronze Doors</a></td><td align="center">&quot;</td>
+  <td align="right">136</td></tr>
+<tr><td align="left"><a href="#IMAGE36">Judith</a></td><td align="center">&quot;</td><td align="right">140</td></tr>
+<tr><td align="left"><a href="#IMAGE37">St. Mary Magdalen</a></td><td align="center">&quot;</td>
+  <td align="right">144</td></tr>
+<tr><td align="left"><a href="#IMAGE38">St. John the Baptist</a></td><td align="center">&quot;</td>
+  <td align="right">146</td></tr>
+<tr><td align="left"><a href="#IMAGE39">Saint Francis, the Madonna, and Saint Anthony</a></td>
+  <td align="center">&quot;</td>
+  <td align="right">152</td></tr>
+<tr><td align="left"><a href="#IMAGE40">Miracle of the Speaking Babe</a></td><td align="center">&quot;</td>
+  <td align="right">156</td></tr>
+<tr><td align="left"><a href="#IMAGE41">Miracle of the Miser's Heart</a></td><td align="center">&quot;</td>
+  <td align="right">158</td></tr>
+<tr><td align="left"><a href="#IMAGE42">Miracle of the Mule</a></td><td align="center">&quot;</td>
+  <td align="right">160</td></tr>
+<tr><td align="left"><a href="#IMAGE43">Symbol of St. Matthew</a></td><td align="center">&quot;</td>
+  <td align="right">162</td></tr>
+<tr><td align="left"><a href="#IMAGE44">Choristers</a></td><td align="center">&quot;</td>
+  <td align="right">164</td></tr>
+<tr><td align="left"><a href="#IMAGE45">Choristers</a></td><td align="center">&quot;</td>
+  <td align="right">164</td></tr>
+<tr><td align="left"><a href="#IMAGE46">Christ Mourned by Angels</a></td><td align="center">&quot;</td>
+  <td align="right">166</td></tr>
+<tr><td align="left"><a href="#IMAGE47">Super Altar by Giovanni da Pisa</a></td><td align="center">&quot;</td>
+  <td align="right">168</td></tr>
+<tr><td align="left"><a href="#IMAGE48">Tomb of Giovanni, Son of General Gattamelata</a></td>
+  <td align="center">&quot;</td>
+  <td align="right">170</td></tr>
+<tr><td align="left"><a href="#IMAGE49">Tomb of General Gattamelata</a></td><td align="center">&quot;</td>
+  <td align="right">172</td></tr>
+<tr><td align="left"><a href="#IMAGE50">Shrine of St. Justina</a></td><td align="center">&quot;</td>
+  <td align="right">172</td></tr>
+<tr><td align="left"><a href="#IMAGE51">General Gattamelata</a></td><td align="center">&quot;</td>
+  <td align="right">174</td></tr>
+<tr><td align="left"><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span><a href="#IMAGE52">Colleone</a></td>
+  <td align="center">&quot;</td><td align="right">176</td></tr>
+<tr><td align="left"><a href="#IMAGE53">Madonna and Child</a></td><td align="center">&quot;</td>
+  <td align="right">180</td></tr>
+<tr><td align="left"><a href="#IMAGE54">&quot;Pazzi&quot; Madonna</a></td><td align="center">&quot;</td>
+  <td align="right">182</td></tr>
+<tr><td align="left"><a href="#IMAGE55">Madonna and Child</a></td><td align="center">&quot;</td>
+  <td align="right">184</td></tr>
+<tr><td align="left"><a href="#IMAGE56">Madonna</a></td><td align="center">&quot;</td>
+  <td align="right">186</td></tr>
+<tr><td align="left"><a href="#IMAGE57">Side Panel of Pulpit</a></td><td align="center">&quot;</td>
+  <td align="right">188</td></tr>
+<tr><td align="left"><a href="#IMAGE58">End Panel of Pulpit</a></td><td align="center">&quot;</td>
+  <td align="right">190</td></tr>
+</tbody>
+</table></div>
+
+<p>&#160;</p>
+
+<p style="text-align: center"><i>The reproductions from photographs which illustrate this
+volume have been made by Messrs. J.J. Waddington, Ltd. 14
+Henrietta Street, W.C.</i></p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+<h2>DONATELLO</h2>
+
+
+<p><span class="smcap">The</span> materials for a biography of Donatello are so scanty, that his
+life and personality can only be studied in his works. The Renaissance
+gave birth to few men of productive genius whose actual careers are so
+little known. Unlike many of his contemporaries, Donatello composed no
+treatise on his art; he wrote no memoir or commentary, no sonnets, and
+indeed scarcely a letter of his even on business topics has survived.
+For specific information about his career we therefore depend upon
+some returns made to the Florentine tax-collectors, and upon a number
+of contracts and payments for work carried out in various parts of
+Italy. But, however familiar Donatello the sculptor may be to the
+student of Italian art, Donatello the man must remain a mystery. His
+biography offers no attraction for those whose curiosity requires
+minute and intimate details of domestic life. Donatello bequeathed
+nothing to posterity except a name, his masterpieces and a lasting
+influence for good.</p>
+
+<p>The <i>Denunzia de' beni</i>, which was periodically demanded from
+Florentine citizens, was a declaration of income combined with what
+would now be called census returns. Donatello made three statements of
+this nature,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> in 1427,<span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span> 1433 and 1457. It is difficult to determine
+his age, as in each case the date of his birth is differently
+inferred. But it is probable that the second of these returns, when he
+said that he was forty-seven years old, gives his correct age. This
+would place his birth in 1386, and various deductions from other
+sources justify this attribution. We gather also that Donatello lived
+with his mother Orsa, his father having died before 1415. The widow,
+who is mentioned in 1427, and not in 1433, presumably died before the
+latter date. One sister, Tita, a dowerless widow, is mentioned in the
+earliest <i>denunzia</i>, living with her mother and Donatello, her son
+Giuliano having been born in 1409. It is probable that Donatello had a
+brother, but the matter is somewhat obscure, and it is now certain
+that he cannot be identified with the sculptor Simone, who used to be
+considered Donatello's brother on the authority of Vasari.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">Competition for the Baptistery Gates.</div>
+
+<p>The year 1402 marks an event of far-reaching importance in the history
+of Italian art. Having decided to erect bronze doors for their
+Baptistery, the Florentines invited all artists to submit competitive
+designs. After a preliminary trial, six artists were selected and a
+further test was imposed. They were directed to make a bronze relief
+of given size and shape, the subject being the Sacrifice of Isaac. Few
+themes could have been better chosen, as the artist had to show his
+capacity to portray youth and age, draped and undraped figures, as
+well as landscape and animal life. The trial plaques were to be sent
+to the judges within twelve months. Donatello did not compete, being
+only a boy, but<span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> he must have been familiar with every stage in the
+contest, which excited the deepest interest in Tuscany. A jury of
+thirty-four experts, among whom were goldsmiths and painters as well
+as sculptors, assembled to deliver the final verdict. The work of
+Jacobo della Quercia of Siena was lacking in elegance and delicacy;
+the design submitted by Simone da Colle was marred by faulty drawing;
+that of Niccolo d'Arezzo by badly proportioned figures; while
+Francesco di Valdambrino made a confused and inharmonious group. It
+was evident that Ghiberti and Brunellesco were the most able
+competitors, and the jury hesitated before giving a decision.
+Brunellesco, however, withdrew in favour of his younger rival, and the
+commission was accordingly entrusted to Ghiberti. The decision was
+wise: Ghiberti's model, technically as well as &#230;sthetically, was
+superior to that of Brunellesco. Both are preserved at Florence, and
+nobody has regretted the acceptance of Ghiberti's design, for its
+rejection would have made a sculptor of Brunellesco, whose real tastes
+and inclinations were towards architecture, to which he rendered
+services of incomparable value.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">First Journey to Rome.</div>
+
+<p>For a short time Donatello was probably one of the numerous <i>garzoni</i>
+or assistants employed by Ghiberti in making the gates, but his first
+visit to Rome is the most important incident of his earlier years.
+Brunellesco, disappointed by his defeat, and wishing to study the
+sculpture and architecture of Rome, sold a property at Settignano to
+raise funds for the journey. He was accompanied by Donatello, his
+<i><span lang="el" title="Transcriber's Note: strettissimo?">stretissimo</span> amico</i>,
+and they spent at least a year together in Rome,
+learning<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span> what they could from the existing monuments of ancient art,
+and making jewelry when money was wanted for their household expenses.
+Tradition says that they once unearthed a hoard of old coins and were
+thenceforward known as the treasure-seekers&#8212;<i>quelli del' tesoro</i>. But
+the influence of antiquity upon Donatello was never great, and
+Brunellesco had to visit Rome frequently before he could fully realise
+the true bearings of classical art. It has been argued that Donatello
+never made this early visit to Rome on the ground that his subsequent
+work shows no traces of classical influence. On such a problem as this
+the affirmative statement of Vasari is lightly disregarded. But the
+biographer of Brunellesco is explicit on the point, giving many
+details about their sojourn; and this book was written during the
+lifetime of both Donatello and Brunellesco. The argument against the
+visit is, in fact, untenable. Artists were influenced by classical
+motives without going to Rome. Brunellesco himself placed in his
+competition design a figure inspired by the bronze boy drawing a thorn
+out of his foot&#8212;the <i>Spinario</i> of the Capitol. Similar examples could
+be quoted from the work of Luca della Robbia, and it would be easy to
+show, on the other hand, that painters like Masaccio, Fra Angelico,
+and Piero della Francesca were able to execute important work in Rome
+without allowing themselves to be influenced by the classical spirit
+except in details and accessories. Moreover, if one desired to press
+the matter further, it can be shown that in the work completed by
+Donatello before 1433, the year in which he made his second and
+undisputed visit, there are sufficient signs of classical motive in
+his architectural backgrounds to justify the opinion that he was
+acquainted with the ancient buildings of<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span> Rome. The Relief on the font
+at Siena and that in the Mus&#233;e Wicar at Lille certainly show classical
+study. At the same time, in measuring the extent to which Donatello
+was influenced by his first visit to Rome, we must remember that it is
+often difficult and sometimes impossible to determine the source of
+what is generically called classical. The revival or reproduction of
+Romanesque motives is often mistaken for classical research. In the
+places where Christianity had little classical architecture to guide
+it&#8212;Ravenna, for instance&#8212;a new line was struck out; but elsewhere
+the Romanesque had slowly emerged from the classical, and in many
+cases there was no strict line of demarcation between the two. But
+Donatello was very young when he went to Rome, and the fashion of the
+day had not then turned in favour of classical study. The sculptors
+working in Rome, colourless men as they were, drew their inspiration
+from Gothic and pre-Renaissance ideals. In Florence the ruling motives
+were even more Gothic in tendency. It is in this school that Donatello
+found his earliest training, and though he modified and transcended
+all that his teachers could impart, his sculpture always retained a
+character to which the essential elements of classical art contributed
+little or nothing.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">The Predecessors of Donatello.</div>
+
+<p>Florence was busily engaged in decorating her great buildings. The
+fourteenth century had witnessed the structural completion of the
+Cathedral, excepting its dome, of the Campanile, and of the Church of
+Or San Michele. During the later years of the century their adornment
+was begun. A host of<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span> sculptors was employed, the number and scale of
+statues required being great. There was a danger that the sculpture
+might have become a mere handmaid of the architecture to which it was
+subordinated. But this was not the case; the sculptors preserved a
+freedom in adapting their figures to the existing architectural lines,
+and it is precisely in the statuary applied to completed buildings
+that we can trace the most interesting transitions from Gothic to
+Renaissance. It is needless to discuss closely the work which was
+erected before Donatello's return from Rome: much of it has unhappily
+perished, and what remains is for the purposes of this book merely
+illustrative of the early inspiration of Donatello. Piero Tedesco made
+a number of statues for the Cathedral, Mea and Giottino worked for the
+Campanile. Lorenzo di Bicci, sculptor, architect, and painter, was one
+of those whose influence extended to Donatello; Niccolo d'Arezzo was
+perhaps the most original of this group, making a genuine effort to
+shake off the conventional system. But, on the whole, the last quarter
+of the fourteenth century showed but little progress. Indeed, from the
+time of the later Pisani there seems to have been a period of
+stagnation, a pause during which the anticipated progress bore little
+fruit. Orcagna never succeeded in developing the ideas of his master.
+The shrine in Or San Michele, marvellous in its way, admirable alike
+for diligence and sincerity, stands alone, and was not imbued with the
+life which could make it an influence upon contemporary art.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
+<div class="sidenote">First Work for the Cathedral.</div>
+
+<p>The first recorded payment to Donatello by the Domopera, or Cathedral
+authorities, was made in November 1406, when he received ten golden
+florins as an instalment towards his work on the two prophets for the
+North door of the church, which is rather inaccurately described in
+the early documents as facing the Via de' Servi. Fifteen months later
+he received the balance of six florins. These two marble figures,
+small as they are, and placed high above the gables, are not very
+noticeable, but they contain the germ of much which was to follow. The
+term &quot;prophet&quot; can only be applied to them by courtesy, for they are
+curly-haired boys with free and open countenances; one of them happens
+to hold a scroll and the other wears a chaplet of bay leaves. There is
+a certain charm about them, a freshness and vitality which reappears
+later on when Donatello was making the dancing children for the Prato
+pulpit and the singing gallery for the Cathedral. The two prophets,
+particularly the one to the right, are clothed with a skill and
+facility all the more remarkable from the fact that some of the
+statues made soon afterwards, show a stiff and rigid treatment of
+drapery. Closely allied to these figures is a small marble statue,
+about three feet high, belonging to Madame Edouard Andr&#233; in Paris. It
+is a full-length figure of a standing youth, modelled with precision,
+and intended to be placed in a niche or against a background. Like the
+prophets just described, it has a high forehead, while the drapery
+falls in strong harmonious lines, a corner being looped up over the
+left arm. It is undoubtedly by Donatello, being the earliest example
+of his work in any collection, public or private, and on that account
+of importance, apart from its intrinsic merits.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+<div class="sidenote">The Cathedral Fa&#231;ade.</div>
+
+<p>Donatello soon received commissions for statues of a more imposing
+scale to be placed on the ill-fated fa&#231;ade of the Cathedral. All
+beautiful within, the churches of Florence are singularly poor in
+those rich fa&#231;ades which give such scope to the sculptor and
+architect, conferring, as at Pisa, distinction on a whole town. The
+churches of the Carmine, Santo Spirito and San Lorenzo are without
+fa&#231;ades at all, presenting graceless and unfinished masonry in place
+of what was intended by their founders. Elsewhere there are late and
+florid fa&#231;ades alien to the spirit of the main building, while it has
+been left to our own generation to complete Santa Croce and the
+Cathedral. The latter, it is true, once had a fa&#231;ade, which, though
+never finished, was ambitiously planned. A large section of it was,
+however, erected in Donatello's time, but was removed for no reason
+which can be adequately explained, except that on the occasion of a
+royal marriage it was thought necessary to destroy what was contrived
+in the <i>maniera tedesca</i>, substituting a sham painted affair which was
+speedily ruined by the elements. The ethics of vandalism are indeed
+strange and varied. In this case vanity was responsible. It was
+superstition which led the Sienese, after incurring defeat by the
+Florentines, to remove from their market-place the famous statue by
+Lysippus which brought them ill-luck, and to bury it in Florentine
+territory, so that their enemies might suffer instead. Ignorance
+nearly induced a Pope to destroy the &quot;Last Judgment&quot; of Michael
+Angelo, whose colossal statue of an earlier Pontiff, Julius II., was
+broken up through political animosity. One wishes that in this last
+case there had been some practical provision such as that inserted by
+the House of Lords in the order for destroying<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span> the Italian Tombs at
+Windsor in 1645, when they ordained that &quot;they that buy the tombs
+shall have liberty to transport them beyond the seas, for making the
+best advantage of them.&quot; The vandalism which dispersed Donatello's
+work could not even claim to be utilitarian, like that which so nearly
+caused the destruction of the famous chapel by Benozzo Gozzoli in the
+Riccardi Palace (for the purposes of a new staircase);<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> neither was
+it caused by the exigencies of war, such as the demolition of the
+Monastery of San Donato, a treasure-house of early painting, razed to
+the ground by the Florentines when awaiting the siege of 1529. The
+Cathedral fa&#231;ade was hastily removed, and only a fraction of the
+statuary has survived. Two figures are in the Louvre; another has been
+recently presented to the Cathedral by the Duca di Sermoneta, himself
+a Caetani, of Boniface VIII., a portrait-statue even more remarkable
+than that of the same Pope at Bologna. Four more figures from the old
+fa&#231;ade, now standing outside the Porta Romana of Florence, are misused
+and saddened relics. They used to be the major prophets, but on
+translation were crowned with laurels, and now represent Homer,
+Virgil, Dante and Petrarch. Other statues are preserved inside the
+Cathedral. Before dealing with these it is necessary to point out how
+difficult it is to determine the authorship and identity of the
+surviving figures. In the first place, our materials for
+reconstructing the design of the old fa&#231;ade are few. There were
+various pictures, some of which in their turn have perished, where
+guidance might have been expected. But the representations of the
+Cathedral in frescoes at San Marco, Santa Croce, the Misericordia and
+Santa Maria Novella help us but little.<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span> Up to the eighteenth century
+there used to be a model in the Opera del Duomo: this also has
+vanished, and we are compelled to make our deductions from a rather
+unsatisfactory drawing made by Bernardo Pocetti in the sixteenth
+century. It shows the disposition of statuary so sketchily that we can
+only recognise a few of the figures. But we have a perfect idea of the
+general style and aim of those who planned the fa&#231;ade, which would
+have far surpassed the rival frontispieces of Siena, Pisa and Orvieto.
+We are met by a further difficulty in identifying the surviving
+statues from the fact that the contracts given to sculptors by the
+Chapter do not always specify the personage to be represented.
+Moreover, in many cases the statues have no symbol attribute or
+legend, which usually guide our interpretation of medi&#230;val art. Thus
+Donatello is paid <i>pro parte solutionis unius figure marmoree</i>;<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> or
+for <i>figuram marmoream</i>.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> Even when an obvious and familiar
+explanation could be given, such as Abraham and Isaac, the accounts
+record an instalment for the figure of a prophet with a naked boy at
+his feet.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center">
+<a name="IMAGE02">
+<img src="images/image02.jpg" width="305" height="400" alt="Joshua" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>JOSHUA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>CATHEDRAL, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Daniel and Poggio.</div>
+
+<p>Nine large marble figures for the Cathedral are now accepted as the
+work of Donatello. Others may have perished, and it is quite possible
+that in one at least of the other statues Donatello may have had a
+considerable share. With the exception of St. John the Baptist and St.
+John the Evangelist, all these statues are derived from the Old
+Testament&#8212;Daniel, Jeremiah and Habbakuk, Abraham and the marble David
+in the Bargello, together with the two figures popularly called<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+Poggio and the Zuccone. Among the earliest, and, it must be
+acknowledged, the least interesting of these statues is the prophet
+standing in a niche in the south aisle close to the great western door
+of the Cathedral. It has been long recognised as a Donatello,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> and
+has been called Joshua. But, apart from the fact that he holds the
+scroll of a prophet, whereas one would rather expect Joshua to carry a
+sword, this statue is so closely related to the little prophets of the
+Mandorla door that it is almost certainly coeval with them, and
+consequently anterior in date to the period of the Joshua for which
+Donatello was paid some years later. We find the same broad flow of
+drapery, and the weight of the body is thrown on to one hip in a
+pronounced manner, which is certainly ungraceful, though typical of
+Donatello's early ideas of balance. It probably represents Daniel. He
+has the high forehead, the thick curly hair and the youthful
+appearance of the other prophets, while his &quot;countenance appears
+fairer and fatter in flesh,&quot;<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> reminding one of Michael Angelo's
+treatment of the same theme in the Sistine Chapel.</p>
+
+<p>Like several of Donatello's statues, this figure is connected with the
+name of a Florentine citizen, Giannozzo Manetti, and passes for his
+portrait. There is no authority for the tradition, and Vespasiano de'
+Bisticci makes no reference to the subject in his life of Manetti. The
+statue is, no doubt, a portrait and may well have resembled Manetti,
+but in order to have been directly executed as a portrait it could
+scarcely have been made before 1426, when Manetti was thirty years
+old, by which date the character of Donatello's work had greatly
+changed. These traditional names have caused many critical
+difficulties, as, when accepted<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span> as authentic, the obvious date of the
+statue has been arbitrarily altered, so that the statue may harmonise
+in point of date of execution with the apparent age of the individual
+whom it is supposed to portray. A second example of the confusion
+caused by the over-ready acceptance of these nomenclatures is afforded
+by the remarkable figure which stands in the north aisle of the
+Cathedral, opposite the Daniel. This statue has been called a portrait
+of Poggio Bracciolini, the secretary of many Popes. Poggio was born in
+1380 and passed some time in Florence during the year 1456. It has,
+therefore, been assumed<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> that the statue was made at this time or
+shortly afterwards, either as Donatello's tribute of friendship to
+Poggio or as an order from the Cathedral authorities in his
+commemoration. This theory is wholly untenable. We have no record of
+any such work in 1456. The statue does not portray a man seventy-six
+years old. Distinguished as Poggio was, his nature did not endear him
+greatly to the Florentine churchmen; and, finally, the style of the
+sculpture predicates its execution between 1420 and 1430. We can, of
+course, admit that Poggio's features may have been recognised in the
+statue, and that it soon came to be considered his portrait. In any
+case, however, we are dealing with a portrait-statue. The keen and
+almost cynical face, with its deep and powerful lines, is certainly no
+creation of the fancy, but the study of somebody whom Donatello knew.
+It is true there are contradictions in the physiognomy: sarcasm and
+benevolence alternate, as the dominating expression of the man's
+character. The whole face is marked by the refinement of one from whom
+precision and niceness of judgment would be expected. It is not<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+altogether what Poggio's achievements would lead one to expect;
+neither is it of a type which, as has been suggested, would allow us
+to call it the missing Joshua. The idea that Job may be the subject is
+too ingenious to receive more than a passing reference.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="IMAGE03">
+<img src="images/image03.jpg" width="304" height="400" alt="Poggio" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>POGGIO</b></p>
+
+<p style="text-align: center"><b><span class="caption">CATHEDRAL, FLORENCE</span></b></p>
+
+<p>&#160;</p>
+
+<p>There is one detail in the statue of Poggio which raises a problem
+familiar to students of fifteenth-century art, especially frequent in
+paintings of the Madonna, namely, the cryptic lettering to be found on
+the borders of garments. In the case of Poggio, the hem of the tunic
+just below the throat is incised with deep and clear cyphers which
+cannot be read as a name or initials. Many cases could be quoted to
+illustrate the practice of giving only the first letters of words
+forming a sentence.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> In this case the script is not Arabic, as on
+Verrocchio's David. The lettering on the Poggio, as on Donatello's
+tomb of Bishop Pecci at Siena and elsewhere, has not been
+satisfactorily explained. Even if painters were in the habit of
+putting conventional symbols on their pictures in the form of
+inscriptions, it is not likely that this careful and elaborate carving
+should be meaningless. The solution may possibly be found in Vettorio
+Ghiberti's drawing of a bell, the rim of which is covered with similar
+hieroglyphics. The artist has transcribed in plain writing a pleasant
+Latin motto which one may presume to be the subject of the
+inscription. If this were accurately<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span> deciphered a clue might be found
+to unravel this obscure problem.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center"><a name="IMAGE04">
+<img src="images/image04.jpg" alt="Mocenigo Tomb" width="312" height="400" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MOCENIGO TOMB</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SAN GIOVANNI E PAOLO, VENICE</b></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Closely analogous to the statue which we must continue to call Poggio
+is a striking figure of Justice surmounting the tomb of Tommaso
+Mocenigo in the Church of San Giovanni e Paolo at Venice. Mocenigo
+died in 1423, and the tomb was made by two indifferent Florentine
+artists, whose poor and imitative work must be referred to later on in
+connection with the St. George. But the Justice, a vigorous and
+original figure, holding a scroll and looking downwards, so absolutely
+resembles the Poggio in conception, attitude, and fall of drapery,
+that the authorship must be referred to Donatello himself. It is
+certainly no copy. One cannot say how this isolated piece of
+Donatello's work should have found its way to Venice, although by 1423
+Donatello's reputation had secured him commissions for Orvieto and
+Ancona and Siena. But it is not necessary to suppose that this Justice
+was made to order for the Mocenigo tomb; had it remained in Florence
+it would have been long since accepted as a genuine example of the
+master.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE05">
+<img src="images/image05.jpg" alt="St. John the Evangelist" width="300" height="400" /></a></p>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. JOHN THE EVANGELIST</b></p>
+
+<p style="text-align: center"><b><span class="caption">CATHEDRAL, FLORENCE</span></b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">St. John the Evangelist and the marble David.</div>
+
+<p>The third great statue made for the fa&#231;ade by Donatello is now placed
+in a dark apsidal chapel, where the light is so bad that the figure is
+often invisible. This is the statue of St. John the Evangelist, and is
+much earlier than Poggio, having been ordered on December 12, 1408.
+Two evangelists were to be placed on either side of the central door.
+Nanni<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span> di Banco was to make St. Luke, Niccolo d'Arezzo St. Mark, and
+it was intended that the fourth figure should be entrusted to the most
+successful of the three sculptors; but in the following year the
+Domopera changed their plan, giving the commission for St. Matthew to
+Bernardo Ciuffagni, a sculptor somewhat older than Donatello.
+Ciuffagni was not unpopular as an artist, for he received plenty of
+work in various parts of Italy; but he was a man of mediocre talent,
+neither archaic nor progressive, making occasional failures and
+exercising little influence for good or ill upon those with whom he
+came in contact. He has, however, one valued merit, that of being a
+man about whom we have a good deal of documentary information.
+Donatello worked on the St. John for nearly seven years, and,
+according to custom, was under obligation to complete the work within
+a specified time. Penalty clauses used to be enforced in those days.
+Jacopo della Quercia ran the danger of imprisonment for neglecting the
+commands of Siena. Torrigiano having escaped from England was recalled
+by the help of Ricasoli, the Florentine resident in London, and was
+fortunate to avoid punishment. Donatello finished his statue in time,
+and received his final instalment in 1415, the year in which the
+figures were set up beside the great Porch. This evangelist, begun
+when Donatello was twenty-two and completed before his thirtieth year,
+challenges comparison with one worthy rival, the Moses of Michael
+Angelo. The Moses was the outcome of many years of intermittent
+labour, and was created by the help of all the advances made by
+sculpture during a century of progress. Yet in one respect only can
+Michael Angelo claim supremacy. Hitherto Donatello had made nothing
+but standing figures. The St. John sits; he is<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span> almost inert, and does
+not seem to await the divine message. But how superb it is, this
+majestic calm and solemnity; how Donatello triumphs over the lack of
+giving tension to what is quiescent! The Penseroso also sits and
+meditates, but every muscle of the reposing limbs is alert. So, too,
+in the Moses, with all its exaggeration and melodrama, with its aspect
+of frigid sensationalism, which led Thackeray to say he would not like
+to be left alone in the room with it, we find every motionless limb
+imbued with vitality and the essentials of movement. The Moses
+undoubtedly springs from the St. John, transcending it as Beethoven
+surpassed Haydn. In spite of nearly unpardonable faults verging on
+decadence, it is the greater though the less pleasing creation of the
+two. The St. John surveys the world; the Moses speaks with God.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="IMAGE06">
+<img src="images/image06.jpg" width="298" height="400" alt="Marble David" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MARBLE DAVID</b></p>
+
+<p style="text-align: center"><b><span class="caption">BARGELLO, FLORENCE</span></b></p>
+
+<p>&#160;</p>
+
+<p>The fourth statue made for the Cathedral proper is contemporary with
+the St. John. The marble David, ordered in 1408 and completed in 1416,
+was destined for a chapel inside the church. The Town Commissioners,
+however, sent a somewhat peremptory letter to the Domopera and the
+statue was handed over to them. It was placed in the great hall of the
+Palace, was ultimately removed to the Uffizzi, and is now in the
+Bargello Museum. The David certainly has a secular look. This ruddy
+youth of a fair countenance, crowned with a wreath, stands in an
+attitude which is shy and perhaps awkward, and by his feet lies the
+head of Goliath with the smooth stone from the brook deeply embedded
+in his forehead. The drapery of the tunic is close fitting, moulded
+exactly to the lines of his frame, and above it a loose cloak hangs
+over the shoulders and falls to the ground with a corner of cloth
+looped over<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span> one of the wrists in a familiar way.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> It would be
+idle to pretend that the David is a marked success like the St. John.
+It neither attains an ideal, as in the St. George, nor is it a
+profound interpretation of character like the Habbakuk or Jeremiah.
+Its effect is impaired by this sense of compromise and uncertainty. It
+is one of the very rare cases in which Donatello hesitated between
+divergent aims and finally translated his doubts into marble.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">Statues of the Campanile.</div>
+
+<p>We must now refer to a group of statues which adorn the Campanile, the
+great Bell tower designed by Giotto for the Cathedral. Not counting
+the numerous reliefs, there are sixteen statues in all, four on each
+side of the tower, and in themselves they epitomise early Florentine
+sculpture. Donatello's statues of Jeremiah, Abraham, and St. John the
+Baptist offer no difficulties of nomenclature, but the Zuccone and the
+Habbakuk are so called on hypothetical grounds. The Zuccone has been
+called by this familiar nickname from time immemorial: bald-head or
+pumpkin&#8212;such is the meaning of the word, and nobody has hitherto
+given a reasoned argument to identify this singular figure with any
+particular prophet. As early as 1415 Donatello received payment for
+some of this work, and the latest record on the subject is dated 1435.
+We may therefore expect to find some variety in idea and considerable
+development in technique during these twenty years. Donatello was not
+altogether single-handed. It is certain that by the time these
+numerous works were being executed he was assisted by scholars, and
+the Abraham was actually made in collaboration with<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> Giovanni di
+Bartolo, surnamed Il Rosso. It is not easy to discriminate between the
+respective shares of the partners. Giovanni was one of those men whose
+style varied with the dominating influence of the moment. At Verona he
+almost ceased to be Florentine: at Tolentino he was himself; working
+for the Campanile he was subject to the power of Donatello. The
+Prophet Obadiah, which corresponds in position to the St. John Baptist
+of Donatello on the western face of the tower, shows Rosso to have
+been a correct and painstaking sculptor, with notions much in advance
+of Ciuffagni's; noticeable also for a refinement in the treatment of
+hands, in which respect many of his rivals lagged far behind. Judging
+from the inscription at Verona, Rosso was appreciated by others&#8212;or by
+himself:<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> he is, in fact, an artist of merit, rarely falling below
+a respectable average in spite of the frequency with which he changed
+his style.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">St. John the Baptist.</div>
+
+<p>Rosso does not compare favourably with Donatello. Obadiah is less
+attractive than St. John the Baptist, its <i>pendant</i>. The test is
+admittedly severe, for the St. John is a figure remarkable alike in
+conception and for its technical skill. Were it not for the scroll
+bearing the &quot;Ecce Agnus Dei,&quot; we should not suggest St. John as the
+subject. Donatello made many Baptists&#8212;boys, striplings and men young
+and mature: but in this case only have we something bright and
+cheerful. He is no mystic; he differs fundamentally<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> from the gloomy
+ascetic and the haggard suffering figures in Siena and Berlin. So far
+from being morose in appearance, clad in raiment of camel's hair, fed
+upon locusts and wild honey, and summoning the land of Jud&#230;a to
+repent, we have a vigorous young Tuscan, well dressed and well fed,
+standing in an easy and graceful attitude and not without a tinge of
+pride in the handsome countenance. In short, the statue is by no means
+typical of the Saint. It would more aptly represent some romantic
+knight of chivalry, a Victor, a Maurice&#8212;even a St. George. It
+competes with Donatello's own version of St. George. In all essentials
+they are alike, and the actual figures are identical in gesture and
+pose, disregarding shield and armour in one case, scroll and drapery
+in the other. The two figures are so analogous, that as studies from
+the nude they would be almost indistinguishable. They differ in this:
+that the Saint on the Campanile is John the Baptist merely because we
+are told so, while the figure made for Or San Michele is inevitably
+the soldier saint of Christendom. It must not be inferred that the
+success of plastic, skill less that of pictorial, art depends upon the
+accuracy or vividness with which the presentment &quot;tells its story.&quot;
+Under such a criterion the most popular work of art would necessarily
+bear the palm of supremacy. But there should be some relation between
+the statue and the subject-matter. Nobody knew this better than
+Donatello: he seldom incurred the criticism directed against Myron the
+sculptor&#8212;<i>Animi sensus non expressisse videtur</i>.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> The occasional
+error, such as that just noticed, or when he gives Goliath the head of
+a mild old gentleman,<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> merely throws into greater prominence the
+usual harmony between his<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> conception and its embodiment. The task of
+making prophets was far from simple. Their various personalities,
+little known in our time, were conjectural in his day: neither would
+the conventional scroll of the prophet do more than give a generic
+indication of the kind of person represented. Donatello, however, made
+a series of figures from which the <span lang="el" title="Greek: êthos">&#951;&#952;&#959;&#962;</span> of the prophets
+emanates with unequalled force.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center">
+<a name="IMAGE07">
+<img src="images/image07.jpg" width="296" height="400" alt="Jeremiah" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>JEREMIAH</b></p>
+
+<p style="text-align: center"><span class="caption"><b>CAMPANILE, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Jeremiah and the Canon of Art.</div>
+
+<p>The Jeremiah, for instance, which is in the niche adjacent to the
+still more astonishing Zuccone (looking westwards towards the
+Baptistery), is a portrait study of consummate power. It is the very
+man who wrote the sin of Judah with a pen of iron, the man who was
+warned not to be dismayed at the faces of those upon whose folly he
+poured the vials of anger and scorn; he is emphatically one of those
+who would scourge the vices of his age. And yet this Jeremiah has his
+human aspect. The strong jaw and tightly closed lips show a decision
+which might turn to obstinacy; but the brow overhangs eyes which are
+full of sympathy, bearing an expression of sorrow and gentleness such
+as one expects from the man who wept for the miserable estate of
+Jerusalem&#8212;<i>Quomodo sedet sola civitas!</i></p>
+
+<p>Tradition says that this prophet is a portrait of Francesco Soderini,
+the opponent of the Medici; while the Zuccone is supposed to be the
+portrait of Barduccio Cherichini, another anti-Medicean partisan.
+Probabilities apart, much could be urged against the attributions,
+which are really on a par with the similar nomenclatures of Manetti
+and Poggio. The important thing is that they<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span> are undoubted
+portraits, their identity being of secondary interest; the fact that a
+portrait was made at all is of far greater moment to the history of
+art. Later on, Savonarola (whose only contribution to art was an
+unconscious inspiration of the charming woodcuts with which his
+sermons and homilies were illustrated) protested warmly against the
+prevailing habit of giving Magdalen and the Baptist the features of
+living and well-known townsfolk.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> The practice had, no doubt, led
+to scandal. But with Donatello it marks an early stage in emancipation
+from the bondage of conventionalism. Not, indeed, that Donatello was
+the absolute innovator in this direction, though it is to his efforts
+that the change became irresistible. Thus in these portrait-prophets
+we find the proof of revolution. The massive and abiding art of Egypt
+ignored the personality of its gods and Pharaohs, distinguishing the
+various persons by dress, ornament, and attribute. They had their
+canon of measurement, of which the length of the nose was probably the
+unit.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> The Greeks, who often took the length of the human foot as
+unit, were long enslaved by their canon. Convention made them adhere
+to a traditional face after they had made themselves masters of the
+human form. The early figures of successful athletes were
+conventional; but, according to Pliny, when somebody was winner three
+times the statue was actually modelled from his person, and was called
+a portrait-figure: &quot;<i>ex membris ipsorum similitudine expressa, quas
+iconicas vocant!</i>&quot; Not until Lysistratus first thought of reproducing
+the human image by means of a cast from the face itself, did they get
+the true portrait in place of their previous<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span> efforts to secure
+generalised beauty.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> In fact, their canon was so stringent that it
+would permit an Apollo Belvedere to be presented by foppish,
+well-groomed adolescence, with plenty of vanity but with little
+strength, and altogether without the sign-manual of godhead or
+victory. Despite shortcomings, Donatello seldom made the mistake of
+merging the subject in the artist's model: he did not forget that the
+subject of his statue had a biography. He had no such canon. Italian
+painting had been under the sway of Margaritone until Giotto destroyed
+the traditional system. Early Italian coins show how convention breeds
+a canon&#8212;they were often depraved survivals of imperial coins, copied
+and recopied by successive generations until the original meaning had
+completely vanished, while the semblance remained in debased outline.
+Nothing can be more fatal than to make a canon of art, to render
+precise and exact the laws of &#230;sthetics. Great men, it is true, made
+the attempt. Leonardo, for instance, gives the recipe for drawing
+anger and despair. His &quot;Trattato della Pintura&quot;<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> describes the
+gestures appropriate for an orator addressing a multitude, and he
+gives rules for making a tempest or a deluge. He had a scientific law
+for putting a battle on to canvas, one condition of which was that
+&quot;there must not be a level spot which is not trampled with gore.&quot; But
+Leonardo da Vinci did no harm; his canon was based on literary rather
+than artistic interests, and he was too wise to pay much attention to
+his own rules. Another man who tried to systematise art was Leon
+Battista Alberti, who gave the exact measurements of ideal beauty,
+length and circumference of limbs, &amp;c.,<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> thus approaching a physical
+canon. The absurdity of these theories is well shown in the &quot;Rules of
+Drawing Caricatures,&quot; illustrated by &quot;mathematical diagrams.&quot;<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a>
+Development and animation are impossible wherever an art is governed
+by this sterile and deadening code of law. The religious art of the
+Eastern Church has been stationary for centuries, confined within the
+narrow limits of hieratic conventions. Mount Athos has the pathetic
+interest of showing the dark ages surviving down to our own day in the
+vigour of unabated decadence. Though not subjected to any serious
+canon, the predecessors of Donatello seemed at one time in danger of
+becoming conventionalised. But Donatello would not permit his art to
+be divorced from appeals to reason and intellect; once started, his
+theory held its own. Donatello was bound by no laws; with all its
+cadence and complexity his art was unsuited to a canon as would be the
+art of music. He seems almost to have disregarded the ordinary
+physical limitations under which he worked. He had no &quot;cant of
+material,&quot; and whether in stone, bronze, wood, or clay, he went
+straight ahead in the most unconcerned manner.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center">
+<a name="IMAGE08">
+<img src="images/image08.jpg" width="299" height="400" alt="Habakkuk" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>HABAKKUK</b></p>
+
+<p style="text-align: center"><span class="caption"><b>CAMPANILE, FLORENCE</b></span></p>
+
+<p>&#160;</p>
+
+
+<div class="sidenote">Habbakuk and the Sense of Distance.</div>
+
+<p>We do not know much about Habbakuk. He left two or three pages of
+passionate complaint against the iniquity of the land, but his
+&quot;burden&quot; lacks those outbursts of lyric poetry which are found in most
+of the other minor prophets. Donatello gives him the air of a thinker.
+He holds a long scroll to which he points with his right hand while
+looking downward, towards the door of the Cathedral. It is a strong
+head,<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> as full of character as the Jeremiah. But Habbakuk is less the
+man of action, and the deep lines about the mouth and across the
+forehead show rather the fruits of contemplation. There may be a note
+of scepticism in the face. But this Habbakuk is no ascetic, and there
+is much strength in reserve: his comment though acrid would be just.
+The veins in the throat stand out like cords. They are much more
+noticeable in the photograph than when one sees the statue from the
+Piazza. It must be remembered that these figures on the Campanile are
+something like fifty-five feet from the ground: they were made for
+these lofty positions, and were carved accordingly. They show
+Donatello's sense of distance; the Zuccone shows his sense of light
+and shade, the Abraham his sense of proportion. Donatello had the
+advantage of making these figures for particular places; his sculpture
+was eminently adapted to the conditions under which it was to be seen.
+In the vast majority of cases modern sculpture is made for
+undetermined positions, and is fortunate if it obtains a suitable
+<i>emplacement</i>. It seldom gets distance, light and proportion in
+harmony with the technical character of the carving. Donatello paid
+the greatest care to the relation between the location of the statue
+and its carving: his work consequently suffers enormously by removal:
+to change its position is to take away something given it by the
+master himself. The Judith looks mean beneath the Loggia de' Lanzi;
+the original of the St. George in the museum is less telling than the
+copy which has replaced it at Or San Michele. Photography is also apt
+to show too clearly certain exaggerations and violences deliberately
+calculated by Donatello to compensate for distance, as on the
+Campanile, or for darkness, as on the Cantoria. The reproductions,
+therefore,<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> of those works not intended to be seen from close by
+must be judged with this reservation. The classical sculptors seem to
+have been oblivious of this sense of distance. Cases have been quoted
+to show that they did realise it, such as the protruding forehead of
+Zeus or the deep-set eyes of the Vatican Medusa. These are accidents,
+or at best coincidences, for the sense of distance is not shown by
+merely giving prominence to one portion or feature of a face. In Roman
+art the band of relief on the Column of Trajan certainly gets slightly
+broader as the height increases: but the modification was
+half-hearted. It does not help one to see the carving, which at the
+summit is almost meaningless, while it only serves to diminish the
+apparent height of the column. So, too, in the triumphal arches of the
+Roman Emperors little attention was paid to the relative and varying
+attitudes of the bas-reliefs. From Greek art the Parthenon Frieze
+gives a singular example of this unrealised law. When <i>in situ</i> the
+frieze was only visible at a most acute angle and in a most
+unfavourable light: beyond the steps it vanished altogether, so one
+was obliged to stand among the columns to see it at all, and it was
+also necessary to look upwards almost perpendicularly. The frieze is
+nearly three feet four inches high and its upper part is carved in
+rather deeper relief than the base: but, even so, the extraordinary
+delicacy of this unique carving was utterly wasted, since the
+technical treatment of the marble was wholly unsuited to its
+<i>emplacement</i>. The amazing beauty of the sculpture and the unsurpassed
+skill of Phidias were never fully revealed until its home had been
+changed from Athens to Bloomsbury.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span></p>
+<p style="text-align: center"><a name="IMAGE09">
+<img src="images/image09.jpg" width="299" height="400" alt="The Zuccone" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>THE ZUCCONE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>CAMPANILE, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Zuccone, &quot;Realism&quot; and Nature.</div>
+
+<p>The Zuccone is one of the eternal mysteries of Italian art. What can
+have been Donatello's intention? Why give such prominence to this
+graceless type? Baldinucci called it St. Mark.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> Others have been
+misled by the lettering on the plinth below the statue &quot;David Rex&quot;:
+beneath the Jeremiah is &quot;Salomon Rex.&quot;<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> These inscriptions
+belonged, of course, to the kings which made way for Donatello's
+prophets. The Zuccone must belong to the series of prophets; it is
+fruitless to speculate which. Cherichini may have inspired the
+portrait. Its ugliness is insuperable. It is not the vulgar ugliness
+of a caricature, nor is it the audacious embodiment of some hideous
+misshapen creature such as we find in Velasquez, in the Gobbo of
+Verona, or in the gargoyles of Notre Dame. There is no deformity about
+it, probably very little exaggeration. It is sheer uncompromising
+ugliness; rendered by the cavernous mouth, the blear eyes, the flaccid
+complexion, the unrelieved cranium&#8212;all carried to a logical
+conclusion in the sloping shoulders and the simian arms. But the
+Zuccone is not &quot;revenged of nature&quot;: there is nothing to &quot;induce
+contempt.&quot; On the other hand, indeed, there is a tinge of sadness and
+compassion, objective and subjective, which gives it a charm, even a
+fascination. <i>Tanto &#232; bella</i>, says Bocchi, <i>tanto &#232; vera, tanto &#232;
+naturale</i>, that one gazes upon it in astonishment, wondering in truth
+why the statue does not speak!<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> Bocchi's criticism cannot be
+improved. The problem has been obfuscated by the modern jargon of art.
+Donatello has been charged with orgies of realism and so forth. There
+may be realism, but the term must be used with discretion:<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> nowadays
+it generally connotes the ugly treatment of an ugly theme, and is
+applied less as a technical description than as a term of abuse.
+Donatello was certainly no realist in the sense that an ideal was
+excluded, nor could he have been led by realism into servile imitation
+or the multiplication of realities. After a certain point the true
+ceases to be true, as nobody knew better than Barye, the greatest of
+the &quot;realists.&quot; The Zuccone can be more fittingly described in
+Bocchi's words. It is the creation of a verist, of a naturalist,
+founded on a clear and intimate perception of nature. Donatello was
+pledged to no system, and his only canon, if such existed, was the
+canon of observation matured by technical ability. We have no reason
+to suppose that Donatello claimed to be a deep thinker. He did not
+spend his time, like Michael Angelo, in devising theories to explain
+the realms of art. He was without analytical pedantry, and, like his
+character, his work was na&#239;ve and direct. Nor was he absorbed by
+appreciation of &quot;beauty,&quot; abstract or concrete. If he saw a man with a
+humped back or a short leg he would have been prepared to make his
+portrait, assuming that the entity was not in conflict with the
+subject in hand. Hence the Zuccone. Its mesmeric ugliness is the
+effect of Donatello's gothic creed, and it well shows how Donatello,
+who from his earliest period was opposed to the conventions of the
+Pisan school, took the lead among those who founded their art upon the
+observation of nature. A later critic, shrewd and now much neglected,
+said that Titian &quot;contented himself with pure necessity, which is the
+simple imitation of nature.&quot;<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> One could not say quite so much of
+Donatello, in whom, curiously enough, the love of nature was limited
+to its<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> human aspect. He seems to have been impervious to outdoor
+nature, to the world of plants and birds and beasts. Ghiberti, his
+contemporary, was a profound student of natural life in all its forms,
+and the famous bronze doors of the Baptistery are peopled with the
+most fanciful products of his observation. &quot;I strove to imitate nature
+to the utmost degree,&quot; he says in his commentary.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a> Thus Ghiberti
+makes a bunch of grapes, and wanting a second bunch as <i>pendant</i>, he
+takes care to make it of a different species. The variety and richness
+of his fruit and flower decoration are extraordinary and, if possible,
+even more praiseworthy than the dainty garlands of the Della Robbia.
+With Donatello all is different. He took no pleasure in enriching his
+sculpture in this way. The Angel of the Annunciation carries no lily;
+when in the Tabernacle of St. Peter's he had to decorate a pilaster he
+made lilies, but stiff and unreal. His trees in the landscape
+backgrounds of the Charge to Peter and the Release of Princess Sabra
+by St. George are tentative and ill-drawn. The children of the
+Cantoria, the great singing gallery made for the Cathedral, are
+dancing upon a ground strewn with flowers and fruit. The idea was
+charming, but in executing it Donatello could only make <i>cut</i> flowers
+and withered fruit. There is no life in them, no savour, and the
+energy of the children seems to have exhausted the humbler form of
+vitality beneath their feet. Years afterwards, when Donatello's
+assistants were allowed a good deal of latitude, we find an effort to
+make more use of this invaluable decoration: the pulpits of San
+Lorenzo, for instance, have some trees and climbing weeds showing keen
+study of nature. But Donatello himself always preferred the
+architectural background, in contrast to<span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span> Leonardo da Vinci, who, with
+all his love of building, seldom if ever used one in the backgrounds
+of his pictures: but then Leonardo was the most advanced botanist of
+his age.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">The Zuccone and the Sense of Light and Shade.</div>
+
+<p>Speaking of the employment of light and shade as instruments in art,
+Cicero says: &quot;<i>Multa vident pictores in umbris et in eminentia, qu&#230;
+nos non videmus</i>.&quot; One may apply the dictum to the Zuccone where
+Donatello has carved the head with a rugged boldness, leaving the play
+of light and shade to complete the portrait. Davanzati was explicit on
+the matter,<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> showing that the point of view from which the Zuccone
+was visible made this coarse treatment imperative, if the spectator
+below was to see something forcible and impressive. &quot;The eyes,&quot; he
+says, &quot;are made as if they were dug out with a shovel: eyes which
+would appear lifelike on the ground level would look blind high up on
+the Campanile, for distance consumes diligence&#8212;<i>la lontananza si
+mangia la diligenzia</i>.&quot; The doctrine could not be better stated, and
+it governs the career of Donatello. There is nothing like the Zuccone
+in Greek art: nothing so ugly, nothing so wise. Classical sculptors in
+statues destined for lofty situations preserved the absolute truth of
+form, but their diligence was consumed by distance. What was true in
+the studio lost its truth on a lofty pediment or frieze. They
+preserved accuracy of form, but they sacrificed accuracy of
+appearance; whereas relative truth was in reality far more
+important&#8212;until, indeed, the time comes when the lights and shades of
+the studio are reproduced in some art gallery or museum.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span></p>
+<p style="text-align: center"><a name="IMAGE10">
+<img src="images/image10.jpg" width="304" height="400" alt="Abraham and Isaac" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ABRAHAM AND ISAAC</b></p>
+
+<p style="text-align: center"><span class="caption"><b>CAMPANILE, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Abraham and the Sense of Proportion.</div>
+
+<p>The statue of Abraham and Isaac on the east side of the Campanile is
+interesting as being the first group made by Donatello. The subject
+had already been treated by Brunellesco and Ghiberti in relief.
+Donatello had to make his figures on a larger scale. Abraham is a
+tall, powerful man with a long flowing beard, looking upwards as he
+receives the command to sheath the dagger already touching the
+shoulder of his son. The naked boy is kneeling on his left leg and is
+modelled with a good deal of skill, though, broadly speaking, the
+treatment is rather archaic in character. It is a tragic scene, in
+which the contrast of the inexorable father and the resigned son is
+admirably felt. Donatello had to surmount a technical difficulty, that
+of putting two figures into a niche only intended for one. His sense
+of proportion enabled him to make a group in harmony with its position
+and environment. It <i>fits</i> the niche. Statues are so often unsuited to
+their niches; scores of examples could be quoted from Milan Cathedral
+alone where the figures are too big or too small, or where the base
+slopes downwards and thus fails to give adequate support to the
+figure. There is an old tradition which illustrates Donatello's
+aptitude for grouping. Nanni di Banco had to put four martyrs into a
+niche of Or San Michele, and having made his statues found it
+impossible to get them in. Donatello was invoked, and by removing a
+superfluous bit of marble here, and knocking off an arm there, the
+four figures were successfully grouped together. The statues, it must
+be admitted, show no signs of such usage, and Nanni was a competent
+person: but the story would not have been invented unless Donatello
+had been credited in his own day with the reputation of being<span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span> a
+master of proportion and grouping. Donatello, however, never really
+excelled in the free standing group. His idea was a suite or series of
+figures against a background, a bas-relief. The essential quality of a
+group is that there should be something to unite the figures. We find
+this in the Abraham, but the four martyrs by Nanni di Banco are
+standing close together as if by chance, and cannot properly be called
+a group in anything but juxtaposition of figures. Il Rosso helped to
+make Abraham. The commission was given jointly to the two sculptors in
+March 1421, and the statue was finished, with unusual expedition, by
+November of the same year. The hand of Rosso cannot be easily detected
+except in the drapery, which differs a good deal from Donatello's. The
+latter must have been chiefly responsible for the grouping and wholly
+so for the fine head of Abraham.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">Drapery and Hands.</div>
+
+<p>Rosso's drapery was apt to be treated in rather a small way with a
+number of little folds. Donatello, on the other hand, often tended to
+the opposite extreme, and in the Campanile figures we see the clothes
+hanging about the prophets in such ample lines that the Zuccone and
+Jeremiah are overweighted with togas which look like heavy blankets.
+Habbakuk and the Baptist are much more skilfully draped, deference
+being shown to the anatomy. &quot;To make drapery merely natural,&quot; said Sir
+Joshua Reynolds, &quot;is a mechanical operation to which neither genius
+nor taste are required: whereas it requires the nicest judgment to
+dispose the drapery so that the folds have an easy communication, and
+gracefully follow each other with such natural<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span> negligence as to look
+like the effect of chance, and at the same time show the figure under
+it to the utmost advantage.&quot;<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> The sculptors of the fifteenth
+century did not find it so easy to make drapery look purely natural,
+and we are often confronted by cases where they failed in this
+respect. It arose partly from a belief that drapery was nothing more
+than an accessory, partly also from their ignorance of what was so
+fully realised by the Greeks, that there can be very little grace in a
+draped figure unless there are the elements of beauty below. Another
+comment suggested by Donatello's early work in marble is that he was
+not quite certain how to model or dispose the hands. They are often
+unduly big; Michael Angelo started with the same mistake: witness his
+David and the Madonna on the Stairs. It was a mistake soon rectified
+in either case. But till late in life Donatello never quite succeeded
+in giving nerve or occupation to his hands. St. Mark, St. Peter, and
+St. John all have a book in their left hands, but none of them <i>hold</i>
+the book; it has no weight, the hand shows no grip and has no sense of
+possession. Neither did Donatello always know where to put the hands,
+giving them the shy and self-conscious positions affected by the
+schoolboy. The Bargello David is a case in point. His hands are idle,
+they have really nothing to do, and their position is arbitrary in
+consequence. It is all a descent from the Gothic, where we find much
+that is inharmonious and paradoxical, and a frequent lack of concord
+between the component parts. St. George, standing erect in his niche,
+holds the shield in front of him, its point resting on the ground.
+But, notwithstanding the great progress made by Donatello in
+modelling<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> these hands&#8212;(so much indeed that one might almost suspect
+the bigger hands of contemporary statues to be faithful portraits of
+bigger hands)&#8212;one feels that the shield does not owe its upright
+position to the constraint of the hands. They do not reflect the
+outward pressure of the heavy shield, which could almost be removed
+without making it necessary to modify their functions or position. It
+was reserved for Michael Angelo to achieve the unity of purpose and
+knowledge needed in portraying the human hand. He was the first among
+Italian sculptors to render the relation of the hand to the wrist, the
+wrist to the forearm, and thence to the shoulder and body. In the
+fifteenth century nobody fully understood the sequence of muscles
+which correlates every particle of the limb, and Donatello could not
+avoid the halting and inconclusive outcome of his inexperience.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">Minor Works for the Cathedral.</div>
+
+<p>There remain a few minor works for the Cathedral which require notice.
+In October 1421 an unfinished figure by Ciuffagni was handed over to
+Donatello and Il Rosso. It is probable that Dr. Semper is correct in
+thinking that this may be the statue on the East side of the Cathedral
+hitherto ascribed to Niccolo d'Arezzo, though it can hardly be the
+missing Joshua. We have here a middle-aged man with a long beard, his
+head inclined forward and supported by his upraised hand with its
+forefinger extended. Donatello was fond of youth, but not less of
+middle age. With all their power these prophets are middle-aged men
+who would walk slowly and whose gesture would be fraught with mature
+dignity. Donatello did not limit to the very young or the very old the
+privilege of seeing<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span> visions and dreaming dreams. Two other statues by
+Donatello have perished. These are Colossi,<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a> ordered probably
+between 1420 and 1425, and made of brick covered with stucco or some
+other kind of plaster. They stood outside the church, on the buttress
+pillars between the apsidal chapels. One of them was on the north
+side, as an early description mentions the &quot;<i>Gigante sopra la
+Annuntiata</i>,&quot;<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> that is above the Annunciation on the Mandorla door.
+The perishable material of these statues was selected, no doubt, owing
+to the difficulty and expense of securing huge monoliths of marble. In
+this case one must regret their loss, as the distance from which they
+would be seen would amply justify their heroic dimensions. But the
+idea of Colossi, which originated in Egypt and the East, is to
+astonish, and to make the impression through the agency of bulk. The
+David by Michael Angelo is great in spite of its unwieldiness. Michael
+Angelo himself was under no illusions about these Colossi. His letter
+criticising the proposal to erect a colossal statue of the Pope on the
+Piazza of San Lorenzo is in itself a delightful piece of humour, and
+ridiculed the conceit with such pungency that the project was
+abandoned. Finally, Donatello made two busts of prophets for the
+Mandorla door. The commission is previous to May 1422, when it is
+noted that Donatello was to receive six golden florins for his work.
+They are profile heads carved in relief upon triangular pieces of
+marble, which fill two congested architectural corners. They look like
+the result of a whim, and at first sight one would think they were
+ordered late in the history of the door to supplement<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span> or replace
+something unsatisfactory. But this is not the case. Half corbel and
+half decoration, they are curious things: one shows a young man, the
+other an older bearded man. Both have long hair drawn back by a
+fillet, and in each case one hand is placed across the breast. They
+have quite a classical look, and are the least interesting as well as
+the least noticeable of the numerous sculptures made for the Cathedral
+by Donatello. The Domopera evidently appreciated his talent. To this
+day, besides these busts and the two small prophets, there survive at
+least nine marble figures made for the Duomo, some of them well over
+life size. There were also the Colossi, and it will be seen later on
+that the Domopera gave him further commissions for bronze doors,
+Cantoria, altar and stained glass; he also was employed as an
+architectural expert. Years of Donatello's life were spent on the
+embellishment of Santa Maria del Fiore, a gigantic task which he
+shared with his greatest predecessors and his most able
+contemporaries. The task, indeed, was never fully accomplished. The
+Campanile is not crowned by the spire destined for it by Giotto: the
+fa&#231;ade has perished and the interior is marred by the errors of
+subsequent generations. But the Cathedral of Florence must
+nevertheless take high rank among the most stately churches of
+Christendom.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE11">
+<img src="images/image11.jpg" width="308" height="400" alt="St. Mark" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. MARK</b></p>
+
+<p style="text-align: center"><span class="caption"><b>OR SAN MICHELE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Or San Michele, St. Peter and St. Mark.</div>
+
+<p>From the earliest times there used to be a church dedicated to St.
+Michael, which stood within the <i>orto</i>, the garden named after the
+saint. The church was, however, removed in the thirteenth century and
+was replaced by an open <i>loggia</i>, which was used for a corn market and
+store. In the following<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span> century the open arches of the <i>loggia</i> were
+built up, again making a church of the building, in which a venerated
+Madonna, for which Orcagna made the tabernacle, was preserved. The
+companies and merchant guilds of Florence undertook to present statues
+to decorate the external niches of the building. Besides Donatello,
+Ghiberti, Verrocchio, Gian Bologna and Nanni di Banco were employed;
+and there are also some admirable medallions by Luca della Robbia.
+Donatello made four statues&#8212;St. Peter, St. Mark, St. Louis and St.
+George. He was to have made St. Phillip as well, but the shoemakers
+who ordered the statue could not afford to pay Donatello's price and
+the work was entrusted to Nanni di Banco. Two only of Donatello's
+statues are left at Or San Michele, the St. Louis being now in Santa
+Croce, while the St. George has been placed in the Bargello. All these
+statues were put into niches of which the base is not more than eight
+feet from the ground, and being intended to be seen at a short
+distance are carved with greater attention to detail and finish than
+is the case with the prophets on the Campanile. St. Peter is probably
+the earliest in date, having been made, judging from stylistic
+grounds, between 1407 and 1412. This statue shows a doubt and
+hesitation which did not affect Donatello when making the little
+prophets for the Mandorla door. The head is commonplace and
+inexpressive; the pose is dull, and the drapery with its crimped edges
+ignores the right leg. There is, however, nothing blameworthy in the
+statue, but, on the other hand, there is nothing showing promise or
+deserving praise. Had it been made by one of the <i>macchinisti</i> of the
+time it would have lived in decent obscurity without provoking
+comment. In fact the statue does not owe its appearance in critical
+discussions to its<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span> own merits, but to the later achievement of the
+sculptor. Thus only can one explain Bocchi's opinion that &quot;living man
+could not display truer deportment than we find in the St. Peter.&quot;<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a>
+One of the figures from the Cathedral fa&#231;ade now in the Louvre, an
+apostle or doctor of the Church, shows whence Donatello derived his
+prosy idea, though the St. Peter is treated in a less archaic manner.
+The St. Mark is much more successful: there is conviction as well as
+vigour and greater skill. Michael Angelo exclaimed that nobody could
+disbelieve the Gospel when preached by a saint whose countenance is
+honesty itself. The very drapery&#8212;<i>il prudente costume e
+religioso</i>&#8212;<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a> was held to contribute to Michael Angelo's praise.
+The grave and kindly face, devout and holy,<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> together with a
+certain homeliness of attitude, give the St. Mark a character which
+would endear him to all. He would not inspire awe like the St. John or
+indifference like St. Peter. He is a very simple, lovable person whose
+rebuke would be gentle and whose counsel would be wise. In 1408 the
+<i>Linaiuoli</i>, the guild of linen-weavers, gave their order to select
+the marble, and in 1411 the commission was given to Donatello, having
+been previously given to Niccolo d'Arezzo, who himself became one of
+Donatello's guarantors. The work had to be finished within eighteen
+months, and the heavy statue was to be placed in the niche at the
+sculptor's own risk. The statement made by Vasari that Brunellesco
+co-operated on the St. Mark is not borne out by the official
+documents. It is interesting to note that the guild gave Donatello the
+height of the figure, leaving him to select the corresponding
+proportions. The statue was to be gilded and<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span> decorated.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> A further
+commission was given to two stone-masons for the niche, which was to
+be copied from that of Ghiberti's St. Stephen. These niches have been
+a good deal altered in recent times, and the statues are in
+consequence less suited to their environment than was formerly the
+case. Judging from the plates in Lasinio's book, the accuracy of which
+has not been contested, it appears that the niches of St. Eligius and
+St. Mark have been made more shallow, while the crozier of the former
+and the key in St. Peter's hand are not shown at all, and must be
+modern restorations.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">St. Louis.</div>
+
+<p>The St. Louis is made of bronze. The reputation of this admirable
+figure has been prejudiced by a ridiculous bit of gossip seriously
+recorded by Vasari, to the effect that, having been reproached for
+making a clumsy figure, Donatello replied that he had done so with set
+purpose to mark the folly of the man who exchanged the crown for a
+friar's habit. Vasari had to enliven his biographies by anecdotes, and
+their authenticity was not always without reproach. In view of his
+immense services to the history of art one will gladly forgive these
+pleasantries; but it is deplorable when they are solemnly quoted as
+infallible. One author says: &quot;... <i>impossibile a guardare quel goffo e
+disgraziato San Lodovico senza sentire una stretta al cuore</i>.&quot; This is
+preposterous. The statue has faults, but they do not spring from
+organic error. The Bishop is overweighted with his thick vestments,
+and his mitre is rather too broad for the head; the left hand,
+moreover, is big and Donatellesque. But the<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> statue, now placed high
+above the great door of Santa Croce, is seen under most unfavourable
+conditions, and would look infinitely better in the low niche of Or
+San Michele. Its proportions would then appear less stumpy, and we
+would then be captivated by the beauty of the face. It has real
+&quot;beauty&quot;; the hackneyed and misused term can only be properly applied
+to Donatello's work in very rare cases, of which this is one. The face
+itself is taken from some model, which could be idealised to suit a
+definite conception, and in which the pure and symmetrical lines are
+harmonised with admirable feeling. Every feature is made to
+correspond, interrelated by some secret necessary to the art of
+portraiture. The broad brow and the calm eyes looking upwards are in
+relation with the delicately chiselled nose and mouth, while the right
+hand, which is outstretched in giving the blessing, is rendered with
+infinite sentiment and grace. St. Louis, in short, deserves high
+commendation, as, in spite of errors, it achieves something to which
+Donatello seldom aspired; and it has the further interest of being his
+earliest figure in bronze, a material in which some of his most
+renowned works were executed. The whole question of Donatello's share
+in the actual casting will be considered at a later stage. It will be
+enough to say at this point that the St. Louis, which was probably
+finished about 1425, was cast with the assistance of Michelozzo.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE12">
+<img src="images/image12.jpg" width="305" height="400" alt="St. George" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. GEORGE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>IN NICHE ON OR SAN MICHELE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">St. George.</div>
+
+<p>The St. George is the most famous of Donatello's statues, and is
+generally called his masterpiece. The marble original has now been
+taken into the Museum, and a bronze cast replaces it at Or San
+Michele. The cause<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> of this transfer is understood to be a fear that
+the statue would be ruined by exposure, although one would think that
+this would apply still more to the exquisite relief, which remains <i>in
+situ</i>, though unprotected by the niche. In the side-lighted Bargello,
+the St. George is crowded into a shallow niche (with plenty of highly
+correct detail) and is seen to the utmost disadvantage; but no
+incongruity of surroundings, no false relations of light can destroy
+the profound impression left by this statue, which was probably
+completed about 1416, in Donatello's thirtieth year. Vasari was
+enthusiastic in its praise. Bocchi wrote a whole book about it,<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> in
+which we might expect to find valuable information; but the interest
+of this ecstatic eulogy is limited. Bocchi gives no dates, facts or
+authorities; nothing to which modern students can turn for accurate or
+specific knowledge of Donatello. Cinelli says the St. George was held
+equal to the rarest sculpture of Rome,<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> and well it might be. The
+St. George was made for the Guild of Armourers; he is, of course,
+wearing armour, and the armour fits him, clothes him. It is not the
+clumsy inelastic stuff which must have prevented so many soldiers from
+moving a limb or mounting a horse. In this case the lithe and muscular
+frame is free and full of movement, quite unimpeded by the defensive
+plates of steel. He stands upright, his legs rather apart, and the
+shield in front of him, otherwise he is quite unarmed; the St. George
+in the niche is alert and watchful: in the bas-relief he manfully
+slays the dragon. The head is bare and the throat uncovered; the face
+is full of confidence and the pride of generous strength, but with no
+vanity or self-<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>consciousness. Fearless simplicity is his chief
+attribute, though in itself simplicity is no title to greatness: with
+Donatello, Sophocles and Dante would be excluded from any category of
+greatness based on simplicity alone. St. George has that earnest and
+outspoken simplicity with which the medi&#230;val world invested its
+heroes; he springs from the chivalry of the early days of Christian
+martyrdom, the greatest period of Christian faith. Greek art had no
+crusader or knight-errant, and had to be content with Harmodius and
+Aristogeiton. Even the Perseus legend, which in so many ways reminds
+one of St. George, was far less appreciated as an incident by
+classical art than by the Renaissance; and even then not until patron
+and artist were growing tired of St. George. M. Reymond has pointed
+out the relation of Donatello's statue to its superb analogue, St.
+Theodore of Chartres Cathedral. &quot;<i>C'est le souvenir de tout un monde
+qui dispara&#238;t.</i>&quot;<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> Physically it may be so. The age of chivalry may
+be passed in so far that the prancing steed and captive Princess
+belong to remote times which may never recur. But St. George and St.
+Theodore were not merely born of legend and fairy tale; their spirit
+may survive in conditions which, although less romantic and
+picturesque, may still preserve intact the essential qualities of the
+soldier-saint of primitive times. The influence of the St. George upon
+contemporary art seems to have been small. The Mocenigo tomb, which
+has already been mentioned, has a figure on the sarcophagus obviously
+copied from the St. George; and elsewhere in this extremely curious
+example of plagiarism we find other figures suggested by Donatello's
+statues. The little figure in the Palazzo Pubblico at Pistoja is
+again<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span> an early bit of piracy. In the courtyard of the Palazzo
+Quaratesi in Florence, built by Brunellesco between 1425 and 1430, an
+early version of the head of St. George was placed in one of the
+circular panels above the pillars. It is without intrinsic importance,
+being probably a cast, but it shows how early the statue was
+appreciated. A more important cast is that of the bas-relief now in
+London, which has a special interest from having been taken before the
+original had suffered two or three rather grievous blows.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a>
+Verrocchio made a drawing of the St. George,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> and Mantegna
+introduced a similar figure into his picture of St. James being led to
+execution.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> But Donatello's influence cannot be measured by the
+effect of St. George. In this particular case his work did not
+challenge competition; its perfection was too consummate to be of
+service except to the copyist. In some ways it spoke the last word;
+closed an episode in the history of art&#8212;<span lang="el" title="Greek: eschatos tou idiou genous">&#949;&#963;&#967;&#945;&#964;&#959;&#962; &#964;&#959;&#965; &#953;&#948;&#953;&#959;&#965; &#947;&#949;&#957;&#959;&#965;&#962;</span>.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE13">
+<img src="images/image13.jpg" width="304" height="400" alt="St. George" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. GEORGE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BARGELLO</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Donatello and Gothic Art.</div>
+
+<p>The relation of St. George and other Italian works of this period,
+both in sculpture and painting, to the Gothic art of France cannot be
+ignored, although no adequate explanation has yet been given. St.
+George, the Baptists of the Campanile and in Rome, and the marble
+David are intensely Franco-Gothic, and precisely what one would expect
+to find in France. The technical and physical resemblance between the
+two schools may, of course, be a coincidence; it may be purely
+superficial. But St. Theodore might well take his place<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span> outside Or
+San Michele, while the St. George (in spite of the difference in date)
+would be in complete ethical harmony with the statues on the portals
+of Chartres. Even if they cannot be analysed, the phenomena must be
+stated. Donatello may have spontaneously returned to the principles
+which underlay the creation of the great statuary of France, the
+country of all others where a tremendous school had flourished. But
+what these fundamental principles were it is impossible to determine.
+It is true there had always been agencies at work which must have
+familiarised Italy with French thought and ideas. From the time of the
+dominant French influence in Sicily down to the Papal exile in
+France&#8212;which ended actually while Donatello was working on these
+statues, one portion or another of the two countries had been
+frequently brought into contact. The Cistercians, for instance, had
+been among the most persistent propagators of Gothic architecture in
+Italy, though nearly all their churches (of which the ground-plans are
+sometimes identical with those of French buildings) are situated in
+remote country districts of Italy, and being inaccessible are little
+known or studied nowadays. France, however, was herself full of
+Italian teachers and churchmen, who may have brought back Northern
+ideas of art, for they certainly left small traces of their influence
+on the French until later on; their presence, at any rate, records
+intercourse between the two countries. A concrete example of the
+relation between the two national arts is afforded by the fact that
+Michelozzo was the son of a Burgundian who settled in Florence.
+Michelozzo was some years younger than Donatello, and it is therefore
+quite out of the question to assume that the St. George could have
+been due to his influence: he was too young to give<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span> Donatello more
+than technical assistance. In this connection one must remember that
+French Gothic, though manifested in its architecture, was of deeper
+application, and did not confine its spirit to the statuary made for
+the tall elongated lines of its cathedrals. What we call Gothic
+pervaded everything, and was not solely based on physical forms.
+Indeed, whatever may be the debt of Italian sculpture to French
+influence, the Gothic architecture of Italy excluded some of the chief
+principles of the French builders. It was much more liberal and more
+fond of light and air. Speaking of the exaggerated type of Gothic
+architecture, in which everything is heightened and thinned, Renan
+asks what would have happened to Giotto if he had been told to paint
+his frescoes in churches from which flat spaces had entirely
+disappeared. &quot;Once we have exhausted the grand idea of infinity which
+springs from its unity, we realise the shortcomings of this egoistic
+and jealous architecture, which only exists for itself and its own
+ends, <i>r&#233;gnant dans le d&#233;sert</i>.&quot;<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> The churches of Umbria and
+Tuscany were as frames in which space was provided for all the arts;
+where fresco and sculpture could be welcomed with ample scope for
+their free and unencumbered display. Donatello was never hampered or
+crowded by the architecture of Florence; he was never obliged, like
+his predecessors in Picardy and Champagne, to accommodate the gesture
+and attitude of his statue to stereotyped positions dictated by the
+architect. His opportunity was proportionately greater, and it only
+serves to enhance our admiration for the French sculptors. In spite of
+difficulties not of their own making, they were able to create, with a
+coarser material and in a less favour<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>able climate, what was perhaps
+the highest achievement ever attained by monumental sculpture. The
+Italians soon came to distrust Gothic architecture. It was never quite
+indigenous, and they were afraid of this &quot;German&quot; transalpine art.
+Vasari attacks &quot;<i>Questa maledizione di fabbriche</i>,&quot; with their
+&quot;<i>tabernacolini l'un sopra l'altro, ... che hanno ammorbato il
+mondo</i>.&quot;<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> One would expect the denunciation of Milizia to be still
+more severe. But he admits that &quot;<i>fra tante monstruosit&#224;
+l'architettura gottica ha alcune bellezze</i>.&quot;<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> Elsewhere mentioning
+the architect of the Florentine Cathedral (while regretting how long
+the <i>corrotto gusto</i> survived), he says, &quot;<i>In questo architetto si
+vede qualche barlume di buona architettura, come di pittura in Cimabue
+suo contemporaneo</i>.&quot;<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> He detects some glimmer of good architecture.
+Sir Joshua Reynolds was cautious: &quot;Under the rudeness of Gothic
+essays, the artist will find original, rational, and even sublime
+inventions.&quot;<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> It should be remembered that the word <i>Tedesca</i>, as
+applied to Gothic art, meant more than German, and could be almost
+translated by Northern. Italians from the lakes and the Valtellina
+were called <i>Tedeschi</i>, and Italy herself was inhabited by different
+peoples who were constantly at war, and who did not always understand
+each other's dialects. Dante said the number of variations was
+countless.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> Alberti, who lived north of the Apennines during his
+boyhood, took lessons in Tuscan before returning to Florence. The word
+<i>Forestiere</i>, now meaning foreigner, was applied<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span> in those days to
+people living outside the province, sometimes even to those living
+outside the town. Thus we have a record of the cost of making a
+provisional altar to display Donatello's work at Padua&#8212;&quot;<i>per
+demonstrar el desegno ai forestieri</i>.&quot;<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a> No final definition of
+Gothic art, of the <i>maniera tedesca</i> is possible. Some of its
+component parts have been enumerated: rigidity, grotesque, naturalism,
+and so forth; but the definition is incomplete, cataloguing the
+effects without analysing their cause. Whether Donatello was
+influenced by the ultimate cause or not, he certainly assimilated some
+of the effects. The most obvious example of the Gothic feeling which
+permeated this child of the Renaissance, is his naturalistic
+portrait-statues. Donatello found the form, some passing face or
+figure in the street, and rapidly impressed it with his ideal.
+Raffaelle found his ideal, and waited for the bodily form wherewith to
+clothe it. &quot;In the absence of good judges and handsome women&quot;&#8212;that is
+to say, models, he paused, as he said in one of his letters to
+Castiglione. One feels instinctively that with his Gothic bias
+Donatello would not have minded. He did not ask for applause, and at
+the period of St. George classical ideas had not introduced the
+professional artist's model. Life was still adequate, and the only
+model was the subject in hand. The increasing discovery of classical
+statuary and learning made the later sculptors distrust their own
+interpretation of the bodily form, which varied from the primitive
+examples. Thus they lost conviction, believing the ideal of the
+classicals to surpass the real of their own day. The result was
+Bandinelli and Montorsoli, whose world was inhabited by pompous
+fictions. They neither attained the<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span> high character of the great
+classical artists nor the single-minded purpose of Donatello. Their
+ideal was based on the unrealities of the Baroque.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE14">
+<img src="images/image14.jpg" width="300" height="400" alt="Annunciation" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ANNUNCIATION</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANTA CROCE, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Crucifix and Annunciation.</div>
+
+<p>Donatello loved to characterise: in one respect only did he typify.
+Where there was most character there was often least beauty. This is
+illustrated by two works in Santa Croce, the Christ on the Cross and
+the Annunciation. They differ in date, material, and conception, but
+may be considered together. As to the exact date of the former many
+opinions have been expressed. Vasari places it about 1401, Manetti
+about 1405, Schmarsow 1410, Cavalucci 1416, Bode 1431, Marcel Reymond
+1430-40. It is quite obvious that the crucifix is the product of
+rather a timid and uncertain technique, and does not show the verve
+and decision which Donatello acquired so soon. It is made of olive
+wood, and is covered by a shiny brown paint which may conceal a good
+deal of detailed carving. The work is sober and decorous, and not
+marred by any breach of good taste. It is in no sense remarkable, and
+has nothing special to connect it with Donatello. Its notoriety
+springs from a long and rather inconsequent story, which says that,
+having made his Christ in rivalry with Brunellesco, who was occupied
+on a similar work, Donatello was so much saddened at the superiority
+of the other crucifix that he exclaimed: &quot;You make the Christ while I
+can only make a peasant: <i>a te &#232; conceduto fare i Cristi, ed a me i
+contadini</i>&quot;.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> Brunellesco's crucifix,<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> now hidden behind a
+portentous array of candles, is even<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> less attractive than that in
+Santa Croce. Brunellesco was the aristocrat, the builder of haughty
+palaces for haughty men, and may have really thought his cold and
+correct idea superior to Donatello's peasant. To have thought of
+taking a contadino for his type (disappointing as it was to Donatello)
+was in itself a suggestive and far-reaching departure from the earlier
+treatment of the subject. In the fourteenth century Christ on the
+Cross had been treated with more reserve and in a less naturalistic
+fashion. The traditional idea disappeared after these two Christs,
+which are among the earliest of their kind, afterwards produced all
+over Italy in such numbers. As time went on the figure of Christ
+received more emphasis, until it became the vehicle for exhibiting
+those painful aspects of death from which no divine message of
+resurrection could be inferred. The big crucifix ascribed to
+Michelozzo shows how far exaggeration could be carried.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> The opened
+mouth, the piteous expression, the clots of blood falling from the
+wounds, combine to make a figure which is repellent, and which lost
+all justification, from the fact that this tortured dying man shows no
+conviction of divine life to come. Donatello's bronze crucifix at
+Padua, made years afterwards, showed that he never forgot that a dying
+Christ must retain to the last the impress of power and superhuman
+origin. In the conflict of drama and beauty, Donatello allowed drama
+to gain the upper hand. But the Annunciation would suggest a different
+answer, for here we find what is clearly a sustained effort to secure
+beauty. The Annunciation is a large relief, in which the angel and the
+Virgin are placed within an elaborately carved frame, while on the
+cornice above there are six<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span> children holding garlands. Its date has
+been the subject of even more discussion than that of the
+Crucifix,<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> and the conflict of opinion has been so keen that the
+intrinsic merits of this remarkable work have been sometimes
+overlooked. The date is, of course, important for the classification
+of Donatello's work, but it is a pity when the attention of the critic
+is monopolised by minor problems. Milizia, when in doubt about the
+date of Alberti's birth, did not go too far in saying &quot;<i>disgrazia
+grande per chi si trova la sua felicit&#224; nelle date</i>.&quot; The Annunciation
+was erected by the Cavalcanti family, and the old theory that it was
+ordered to commemorate their share in the victory over Pisa in 1406
+has been upheld by the presence on the lower frieze of a winged
+wreath, an emblem of victory. The object of the donor is conjectural:
+we know nothing about it; and the association of wings and a wreath is
+found elsewhere in Donatello's work.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> Moreover, the rich
+Renaissance decoration is quite sufficient to demonstrate that the
+work must be much later than 1406, though whether immediately before
+or after the second Roman visit must be founded on hypothesis. The
+precise date of the particular decoration is too nebular to permit any
+exact statement on the subject. There was never any line of
+demarcation between one school and another. One can find Gothic ideas
+long after the Renaissance had established its principles,<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> while<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+the period of transition lasted so long, especially in the smaller
+towns, that the old and new schools often flourished concurrently.
+This relief is made of Pietra Serena, of a delicate bluish tint, very
+charming to work in, according to Cellini, though without the
+durability needed for statues placed out of doors.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> It has been
+enriched with a most lavish hand and there is no part of the work
+without sumptuous decoration. The base, with the central wreath, is
+flanked by the Cavalcanti arms: above them rise two rectangular shafts
+enclosing the relief on either side. These columns are carved with a
+fretwork of leaves, and their capitals are formed of strongly
+chiselled masks of a classical type, like those on the Or San Michele
+niche. Above the shafts comes the plinth, which has a peculiar egg and
+dart moulding, in its way ugly, and finally the whole thing is crowned
+with a bow-shaped arch, upon which the six terra cotta <i>Putti</i> are
+placed, two at either extremity and the other pair lying along the
+curved space in the centre;<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> the panelled background and the throne
+are covered with arabesques. But this intricate wealth of decoration
+does not distract attention from the main figures. The Virgin has just
+risen from the chair, part of her dress still resting on the seat. Her
+face and feet turn in different directions, thus giving a dualism to
+the movement, an impression of surprise which is in itself a <i>tour de
+force</i>. But there is nothing bizarre or far-fetched, and the general
+idea one receives is that we have a momentary vision of the scene: we
+intercept the message which is well rendered by the pose<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> of the
+angel, while its reception is acknowledged by the startled gesture of
+the Virgin. &quot;<i>&#200; stupendo l'artifizio.</i>&quot;<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> The scheme is what one
+would expect from Luca della Robbia. Nothing of the kind reappears in
+Donatello's work, and the attainment of beauty as such is also beyond
+the sphere of his usual ambition. Indeed, so widely does the
+Annunciation differ from our notions about the artist, that it has
+been recently suggested that Donatello was assisted in the work: while
+some people doubt the attribution altogether. The idea that Michelozzo
+should have done some of the actual carving may be well or ill
+founded; in any case, no tangible argument has been advanced to
+support the idea. Donatello's authorship is vouched for by Albertini,
+who wrote long before Vasari, and whose notice about the works of art
+in Florence is of great value.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> But we have no standard of
+comparison, and Donatello himself had to strike out a new line for his
+new theme. The internal evidence in favour of Donatello must therefore
+be sought in the accessories; and in architectural details which occur
+elsewhere,<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> such as the big and somewhat incontinent hands, the
+typical <i>putti</i>, and the rather heavy drapery. To this we may add the
+authority of early tradition, the originality and strength of
+treatment, and finally the practical impossibility of suggesting any
+alternative sculptor.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+<div class="sidenote">Martelli, David and Donatello's Technique.</div>
+
+<p>Tradition says that Ruberto Martelli was the earliest of Donatello's
+patrons. So far as we know, there were two Rubertos: the elder was
+seventy-three at the time of Donatello's birth, and must therefore
+have been a nonagenarian before his patronage could be effectively
+exercised; the other was twenty-two years younger than the sculptor,
+whom he could not have helped as a young man. But there is no question
+about the interest shown by the family in Donatello's work. The David
+and the St. John, together with a portrait-bust and the coat of arms,
+still show their practical appreciation of his work and Donatello's
+gratitude to the family. Vasari is the first to mention these works,
+and it must be remarked that Albertini, who paid great attention to
+Donatello, mentions nothing but antique sculpture in the Martelli
+palace. The David and the St. John Baptist are both in marble, and
+were probably made between 1415 and 1425. The David, which was always
+prized by the family, is shown in the background of Bronzino's
+portrait of Ugolino Martelli.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> It was then standing in the
+courtyard of the palace, but was taken indoors in 1802 <i>per
+intemperias</i>. The statue is not altogether a success. Its <i>allure</i> is
+good: but the anatomy is feminine, the type is soft and yielding; the
+attitude is not spontaneous; and the head of Goliath, tucked
+uncomfortable between the feet, is poor. There is a bronze statuette
+in Berlin which has been considered a study for this figure, though it
+is most unlikely that Donatello himself would have taken the trouble
+to make bronze versions of his preparatory studies. The work, however,
+is in all probability by Donatello, and most of the faults in the
+marble statue<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> being corrected, it may be later than the Martelli
+figure, from which it also varies in several particulars. The
+statuette is full of life and vigour, and the David is a sturdy
+shepherd-boy who might well engage a lion or a bear. In one respect
+the Martelli figure is of great importance. It is unfinished&#8212;the only
+unfinished marble we have of the master, and it gives an insight into
+the methods he employed. It is fortunate that we have some means of
+understanding how Donatello gained his ends, although this statue does
+not show him at his best; indeed it may have been abandoned because it
+did not reach his expectations. However, we have nothing else to judge
+by. The first criticism suggested by the David is that Donatello
+betrays the great effort it cost him. Like the unfinished Faith by
+Mino da Fiesole,<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> it is laboured and experimental. They set to work
+hoping that later stages would enable them to rectify any error or
+miscalculation, but both found they had gone too far. The material
+would permit no such thing, and with all their skill one sees that the
+blocks of marble did not unfold the statues which lay hidden within.
+As hewers of stone, Donatello and Mino cannot compare with Michael
+Angelo. Jacopo della Quercia alone had something of his genius of
+material. Nobody left more &quot;unfinished&quot; work than Michael Angelo. The
+Victory, the bust of Brutus, the Madonna and Child,<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> to mention a
+few out of many, show clearly what his system was. In the statue of
+Victory we see the three stages of development or completion. The
+statue is <i>in</i> the stone, grows out of it. The marble seems to be as
+soft as soap, and Michael Angelo simply peels off successive strata,
+apparently<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span> extracting a statue without the smallest effort. The three
+grades are respectively shown in the rough-hewn head of the crouching
+figure, then in the head of the triumphant youth above him, finally in
+his completed torso. But each stage is finished relatively. Completion
+is relative to distance; the Brutus is finished or unfinished
+according to our standpoint, physical or &#230;sthetic. Moreover, the
+treatment is not partial or piecemeal; the statue was in the marble
+from the beginning, and is an entity from its initial stage: in many
+ways each stage is equally fine. The paradox of Michael Angelo's
+technique is that his <i>abozzo</i> is really a finished study. The Victory
+also shows how the deep folds of drapery are bored preparatory to
+being carved, in order that the chisel might meet less resistance in
+the narrow spaces; this is also the case in the Martelli David. As a
+technical adjunct boring was very useful, but only as a process. When
+employed as a mechanical device to represent the hair of the head, we
+get the Roman Empress disguised as a sponge or a honeycomb. These
+tricks reveal much more than pure technicalities of art.
+Gainsborough's habit of using paint brushes four or five feet long
+throws a flood of light upon theory and practice alike. There is,
+however, another work, possibly by Donatello himself, which gives no
+insight into anything but technical methods, but which is none the
+less important. This is the large Madonna and Child surrounded by
+angels, belonging to Signor Bardini of Florence. It is unhappily a
+complete wreck, five heads, including the Child's, having been broken
+away. It is a relief in stucco, modelled, not cast, and is closely
+allied with a group of Madonnas to which reference is made
+hereafter.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> We can see precisely how this relief was made.<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span> The
+stucco adheres to a strong canvas, which in its turn is nailed on to a
+wooden panel. The background, also much injured, is decorated with
+mosaic and geometrical patterns of glass, now dim and opaque with age.
+The relief must have been of signal merit. Complete it would have
+rivalled the polychrome Madonna of the Louvre: as a fragment it is
+quite sufficient to prove that the Piot Madonna, in the same museum,
+is not authentic. One more trick of the sculptor remains to be
+noticed. Vasari and Bocchi say that Donatello, recognising the value
+of his work, grouped his figures so that the limbs and drapery should
+offer few protruding angles, in order to minimise the danger of
+fracture. It was his insurance against the fragility of the stone:
+when working in bronze such precautions would be less necessary. It is
+quite true that in the larger figures there is a marked restraint in
+this respect, while in his bas-reliefs, where the danger was less, the
+tendency to raise the arms above the head is often exaggerated. But
+too much stress should not be laid upon this explanation: it is hard
+to believe that Donatello would have let so crucial a matter be
+governed by such a consideration. Speaking generally, Donatello was
+neither more nor less restrictive than his Florentine contemporaries,
+and it was only at a later period that the isolated statue received
+perfect freedom, such as that in the Cellini Perseus, or the Mercury
+by Gian Bologna, or Bernini's work in marble.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="illustrations">
+  <tbody>
+  <tr>
+    <td><a name="IMAGE15">
+    <img src="images/image15.jpg" width="307" height="400" alt="San Giovannino" /></a></td>
+    <td>&#160;<a name="IMAGE16"><img src="images/image16.jpg" width="297" height="400" alt="St. John Baptist" /></a></td>
+  </tr>
+  <tr>
+    <td>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SAN GIOVANNINO</b></p>
+
+<p style="text-align: center"><b><span class="caption">PALAZZO MARTELLI, FLORENCE</span></b></p>
+
+
+    </td>
+    <td>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. JOHN BAPTIST, MARBLE</b></p>
+
+<p style="text-align: center"><b><span class="caption">BARGELLO</span></b></p>
+
+
+    </td>
+  </tr>
+</tbody>
+</table>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Early Figures of St. John.</div>
+
+<p>Another important statue in the Martelli palace is that of St. John
+the Baptist. Besides being the earliest patron of Florence, St. John
+was the titular saint of every Baptistery in the land. This accounts
+for the frequency with which we find his statues and scenes from his
+life, particularly in Tuscany. With Donatello he was to some extent a
+speciality, and we can almost trace the sculptor's evolution in his
+presentment of the Baptist, beginning with the chivalrous figure on
+the Campanile and ending with the haggard ascetic of Venice. We have
+St. John as a child in the Bargello, as a boy in Rome, as a stripling
+in the Martelli palace. On the bell-tower he is grown up, in the Frari
+he is growing older, and at Siena he is shown as old as Biblical
+history would permit. The St. John in the Casa Martelli, <i>oltra tutti
+singolare</i>,<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> was so highly prized that it was made an heirloom,
+with penalties for such members of the family who disposed of it. This
+St. John is a link between the Giovannino and the mature prophet. He
+is, as it were, dazed, and sets forth upon his errand with
+open-mouthed wonder. He has a strain of melancholy, and seems rather
+weakly and hesitating. But there is no attempt after emaciation. The
+limbs are well made, and as sturdy as one would expect, in view of the
+unformed lines of the model: the hands also are good. As regards the
+face, one notices that the nose and mouth are rather crooked, and that
+the eyes diverge: not, indeed, that these defects are really
+displeasing, since they are what one sometimes finds in living youth.
+Another Baptist which has hitherto<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span> escaped attention is the small
+marble figure, about four feet high, which stands in a niche over the
+sacristy door of San Giovanni Fiorentino in Rome. It was placed there
+a few years ago, when, owing to the prevalent mania of rebuilding, it
+became necessary to demolish the little oratory on the Corso which
+belonged to the Mother Church close by. The statue was scarcely seen
+in its old home: how it got there is unknown. The church itself was
+not founded by the Florentines until after Donatello's death, and this
+statue looks as if it had been made before Donatello's visit to Rome
+in 1433. But its authenticity cannot be questioned. We have the same
+type as in the Martelli Baptist, with something of the Franco-Gothic
+sentiment. This St. John is rather younger, a Giovannino, his thin
+lithe figure draped with the camel-hair tunic which ends above the
+knees. Hanging over the left shoulder is a long piece of drapery,
+falling to the ground behind him, and giving support to the marble,
+just as in the other Baptist. We have the open mouth, the curly hair
+and the broad nostrils: in every way it is a typical work of the
+sculptor. There are two other early Baptists, both in the Bargello.
+The little relief in Pietra Serena<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> is a delightful rendering of
+gentle boyhood. The modelling shows Donatello's masterful treatment of
+the soft flesh and the tender muscles beneath it. Everything is
+subordinated to his object of showing real boyhood with all the charm
+of its imperfections. The head is shown in profile, thus enabling us
+to judge the precise nature of all the features, each one of which
+bears the imprint of callow <i>morbidezza</i>.<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span> Even the hair has the
+dainty qualities of childhood: it has the texture of silk. It is a
+striking contrast to the life-sized Baptist who has just reached
+manhood. We see a St. John walking out into the desert. He looks
+downward to the scroll in his hand, trudging forward with a hesitating
+gait,&#8212;but only hesitating because he is not sure of his foothold, so
+deeply is he absorbed in reading. It is a triumph of concentration.
+Donatello has enlisted every agency that could intensify the oblivion
+of the world around him. It is from this aloofness that the figure
+leaves a detached and inhospitable impression. One feels instinctively
+that this St. John would be friendless, for he has nothing to offer,
+and asks no sympathy. There is no room for anybody else in his career,
+and nobody can share his labours or mitigate his privations. In short,
+there is no link between him and the spectator. Unless we interpret
+the statue in this manner, it loses all interest&#8212;it never had any
+beauty&#8212;and the St. John becomes a tiresome person with a pedantic and
+ill-balanced mind. But Donatello can only have meant to teach the
+lesson of concentrated unity of purpose, which is the chief if not the
+only characteristic of this St. John. Technically the work is
+admirable. The singular care with which the limbs are modelled,
+especially the feet and hands, is noteworthy: while the muscular
+system, the prominent spinal cord, and the pectoral bones are rendered
+with an exactitude which leads one to suppose Donatello reproduced all
+the peculiarities of his model. It has been said that Michelozzo
+helped Donatello on the ground that certain details reappear on the
+Aragazzi monument. The argument is speculative, and would perhaps gain
+by being inverted,&#8212;by pointing out that when making the Aragazzi<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span>
+figures, Michelozzo, the lesser man, was influenced by Donatello, the
+greater.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE17">
+<img src="images/image17.jpg" width="367" height="400" alt="Clay sketch" /></a></p>
+
+<p style="text-align: center"><b>CLAY SKETCH OF CRUCIFIXION AND FLAGELLATION</b></p>
+
+<p style="text-align: center"><span class="caption"><b>LONDON</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Donatello as Architect and Painter.</div>
+
+<p>Fully as Donatello realised the unity of the arts, we cannot claim him
+as a universal genius, like Leonardo or Michael Angelo, who combined
+the art of literature with plastic, pictorial and architectural
+distinction. But at the same time Donatello did not confine himself to
+sculpture. He was a member of the Guild of St. Luke: he designed a
+stained-glass window for the Cathedral: his opinion on building the
+Cupola was constantly invited, and he made a number of marble works,
+such as niches, fountains, galleries and tombs, into which the pursuit
+of architecture and construction was bound to enter. Moreover, his
+backgrounds were usually suggested by architectural motives. Donatello
+joined the painters' guild of St. Luke in 1412, and in a document of
+this year he is called <i>Pictor</i>.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> There is a great variety in the
+names and qualifications given to artists during the fifteenth
+century. In the first edition of the Lives, Vasari calls Ghiberti a
+painter. Pisano, the medallist, signed himself Pictor. <i>Lastrajuolo</i>,
+or stone-fitter, is applied to Nanni di Banco.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> Giovanni Nani was
+called <i>Tagliapietra</i>,<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> Donatello is also called <i>Marmoraio</i>,
+<i>picchiapietre</i>,<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> and woodcarver.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a> In the commission from the
+Orvieto Cathedral for a bronze Baptist he is comprehensively described
+as &quot;<i>intagliatorem figurarum,</i><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span> <i>magistrum lapidum atque intagliatorem
+figurarum in ligno et eximium magistrum omnium trajectorum</i>.&quot;<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a>
+Finally, like Ciuffagni,<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> he is called <i>aurifex</i>, goldsmith.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a>
+Cellini mentions Donatello's success in painting,<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> and Gauricus,
+who wrote early in the sixteenth century, says that the favourite
+maxim inculcated by Donatello to his pupils was &quot;<i>designate</i>&quot;&#8212;&quot;Draw:
+that is the whole foundation of sculpture.&quot;<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> The only pictorial
+work that has survived is the great stained-glass Coronation of the
+Virgin in the Duomo. Ghiberti submitted a competitive cartoon and the
+Domopera had to settle which was &quot;<i>pulchrius et honorabilius pro
+ecclesia</i>.&quot; Donatello's design was accepted,<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> and the actual
+glazing was carried out by Bernardo Francesco in eighteen months.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a>
+The background is a plain blue sky, and the two great figures are the
+centre of a warm and harmonious composition. The window stands well
+among its fellows as regards colour and design, but does not help us
+to solve difficult problems connected with Donatello's drawings.
+Numbers have been attributed to him on insufficient foundation.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a>
+The fact is that, notwith<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span>standing the explicit statements of Borghini
+and Vasari that Donatello and Michael Angelo were comparable in
+draughtsmanship, we have no authenticated work through which to make
+our inductions. A large and important scene of the Flagellation in the
+Uffizzi,<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> placed within a complicated architectural framework, and
+painted in green wash, has some later Renaissance features, but
+recalls Donatello's compositions. In the same collection are two
+extremely curious pen-and-ink drawings which give variants of
+Donatello's tomb of John XXIII. in the Baptistery. The first of them
+(No. 660) shows the Pope in his tiara, whereas on the tomb this symbol
+of the Papacy occupies a subordinate place. The Charity below carries
+children, another variant from the tomb itself. The second study (No.
+661) gives the effigy of a bareheaded knight in full armour lying to
+the left, and the basal figures also differ from those on the actual
+tomb. These drawings are certainly of the fifteenth century, and even
+if not directly traceable to Donatello himself, are important from
+their relation to the<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span> great tomb of the Pope, for which Donatello was
+responsible. But we have no right to say that even these are
+Donatello's own work. In fact, drawings on paper by Donatello would
+seem inherently improbable. Although he almost drew in marble when
+working in <i>stiacciato</i>, the lowest kind of relief, he was essentially
+a modeller, rather than a draughtsman. Leonardo was just the reverse;
+Michael Angelo was both, but with him sculpture was <i>the</i> art.
+Donatello had small sense of surface or silhouette, and we would not
+expect him to commit his ideas to paper, just as Nollekens,<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> who
+drew so badly that he finally gave up drawing, and limited himself to
+modelling instead&#8212;turning the clay round and round and observing it
+from different aspects, thus employing a tactile in place of a
+pictorial medium. Canova also trusted chiefly to the plastic sense to
+create the form. But Donatello must nevertheless have used pen and ink
+to sketch the tombs, the galleries, the Roman tabernacle, and similar
+works. It is unfortunate that none of his studies can be identified.
+There is, however, one genuine sketch by Donatello, but it is a sketch
+in clay. The London Panel<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> was made late in life, when Donatello
+left a considerable share to his assistants. It is therefore a
+valuable document, showing Donatello's system as regards his own
+preliminary studies and the amount of finishing he would leave to
+pupils. We see his astonishing plastic facility, and the ease with
+which he could improvise by a few curves, depressions and prominences
+so complex a theme as the<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> Flagellation, or Christ on the Cross. It
+is a marvel of dexterity.</p>
+
+<p>&#160;</p>
+
+<p style="text-align: center">
+<a name="IMAGE18">
+<img src="images/image18.jpg" width="297" height="400" alt="Niche of Or San Michele" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>NICHE OF OR SAN MICHELE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>THE GROUP BY VERROCCHIO</b></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>Sculpture relies upon the contour, architecture upon the line. The
+distinction is vital, and were it not for the number and importance of
+the exceptions, from Michael Angelo down to Alfred Stevens, one would
+think that the sculptor-architect would be an anomaly. In describing
+the pursuits of Donatello and Brunellesco during their first visit to
+Rome, Manetti says that the former was engrossed by his plastic
+researches, &quot;<i>senza mai aprire gli occhi alla architettura</i>.&quot; It is
+difficult to believe that Donatello had no eyes for architecture.
+There are several reasons to show that later on he gave some attention
+to its study. Like the Roman Tabernacle, the Niche on Or San
+Michele<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> is without any Gothic details. Albertini mentions
+Donatello as its sole author, but it is probable that Michelozzo, who
+helped on the statue of St. Louis, was also associated with its niche.
+It is a notable work, designed without much regard to harmony between
+various orders of architecture, but making a very rich and pleasing
+whole. It is decorated with some admirable reliefs. On the base are
+winged <i>putti</i> carrying a wreath; in the spandrils above the arch are
+two more. The upper frieze has also winged cherubs' heads, six of them
+with swags of fruit and foliage, all of exceptional charm and
+vivacity. The motive of wings recurs in the large triangular space at
+the top; flanking the magnificent Trinity, three grave and majestic
+heads, which though<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span> united are kept distinct, and though similar in
+type are full of individual character. This little relief, placed
+rather high, and discountenanced by the bronze group below, is a
+memorable achievement of the early fifteenth century and heralds the
+advent of the power and solemnity, the <i>Terribilit&#224;</i> of Michael
+Angelo. Donatello's aptitude for architectural setting is also
+illustrated by the choristers' galleries in the Cathedral and San
+Lorenzo. The former must be dealt with in detail when considering
+Donatello's treatment of childhood. As an architectural work it shows
+how the sculptor employed decorative adjuncts such as mosaic and
+majolica<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> to set off the white marble; he also added deep maroon
+slabs of porphyry and bronze heads, thus combining various arts and
+materials. Having no sculpture, the Cantoria of San Lorenzo is perhaps
+more important in this connection, as it is purely constructive, while
+its condition is intact: the Cathedral gallery having been rebuilt on
+rather conjectural lines. In San Lorenzo we find the same ideas and
+peculiarities, such as the odd egg and dart moulding which reappears
+on the Annunciation. The colour effects are obtained by porphyry and
+inlaid marbles. But we see how much Donatello trusted to sculpture,
+and how indifferently he fared without it. This gallery does not
+retain one's attention. There is a stiffness about it, almost a
+monotony, and it looks more like the fragment of a balcony than a
+<i>Cantoria</i>, for there is no marked terminal motive to complete and
+enclose it at either end. Two gateways have been ascribed to
+Donatello, but there is nothing either in their architecture or the
+treatment of their heraldic decoration, which is<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span> distinctive of the
+sculptor.<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> There can be no doubt that Donatello was employed as
+architect by the Chapter of Sant' Antonio at Padua,<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> and his love
+of buildings is constantly shown in the background of his reliefs. But
+the strongest testimony to his architectural skill is derived from the
+fact that he was commissioned in 1416 to make a model for the then
+unfinished cupola of the Cathedral at Florence. Brunellesco and Nanni
+di Banco also received similar orders. Brunellesco alone understood
+the immense difficulty of the task, and in the next year he announced
+his return to Rome for further research. In 1418 the sum of two
+hundred gold florins was offered for the best model, and in 1419
+Ghiberti, Nanni di Banco, Donatello and Brunellesco all received
+payments for models. Donatello's was made of brick. Ultimately the
+work was entrusted to Brunellesco, who overcame the ignorance and
+intrigues which he encountered from all sides, his two staunch friends
+being Donatello and Luca della Robbia. As to the nature of Donatello's
+models we know nothing; it is, however, clear that his opinion was at
+one time considered among the best available on a problem which
+required knowledge of engineering. As a military engineer Donatello
+was a failure. He was sent in 1429 with other artists to construct a
+huge dam outside the besieged town of Lucca, in order to flood or
+isolate the city. The amateur and <i>dilettante</i> of the Renaissance
+found a rare opportunity in warfare; and this passion for war and its
+preparations<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span> occurs frequently among these early artists. Leonardo
+designed scores of military engines. Francesco di Giorgio has left a
+whole bookful of such sketches, in one of which he anticipates the
+torpedo-boat.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> So, too, Michael Angelo took his share in erecting
+fortifications, though he did not fritter away so much time on
+experiments as some of his contemporaries. Donatello and his
+colleagues did not even leave us plans to compensate for their
+ignominious failure. One is struck by the confidence of these
+Renaissance people, not only in art but in every walk of life. They
+were so sure of success, that failure came to be regarded as
+surprising, and very unprofessional. Michael Angelo had no conception
+of possible failure. He embarked upon the colossal statue of the Pope
+when quite inexperienced in casting; he was the first to taunt
+Leonardo on his failure to make the equestrian statue. When somebody
+failed, the work was handed over to another man, who was expected to
+succeed. Thus Ciuffagni had to abandon an unpromising statue, <i>quod
+male et inepte ipsam laboravit</i>,<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> and the David of Michael Angelo
+was made from a block of marble upon which Agostino di Duccio had
+already made fruitless attempts.</p>
+
+<p>&#160;</p>
+
+<table border="0" cellpadding="5" cellspacing="0" summary="illustrations">
+  <tbody>
+  <tr>
+    <td><a name="IMAGE19">
+    <img src="images/image19.jpg" width="306" height="400" alt="The Marzocco" /></a></td>
+    <td><a name="IMAGE20">
+    <img src="images/image20.jpg" width="302" height="400" alt="The Martelli Shield" /></a></td>
+  </tr>
+  <tr>
+    <td> <p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+    <p style="text-align: center"><b>THE MARZOCCO</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BARGELLO</b></span></p>
+
+
+    </td>
+    <td> <p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+    <p style="text-align: center"><b>THE MARTELLI SHIELD</b></p>
+
+<p>&#160;</p>
+
+    </td>
+  </tr>
+</tbody>
+</table>
+
+<p>&#160;</p>
+
+
+<p>Two fountains are ascribed to Donatello, made respectively for the
+Pazzi and Medici families. The former now belongs to Signor Bardini.
+It is a fine bold thing, but the figure and centrepiece are
+unfortunately missing. The marble is coated with the delicate patina
+of water: its decoration is rather nondescript, but there is no reason
+to suppose that Rossellino's <i>fonte</i> mentioned by Albertini was the
+only one possessed by the Great House of the Pazzi. The Medici
+fountain, now in the Pitti Palace, is<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span> rather larger, being nearly
+eight feet high. The decoration is opulent, and one could not date
+these florid ideas before Donatello's later years. The boy at the top
+dragging along a swan is Donatellesque, but with mannerisms to which
+we are unaccustomed. The work is not convincing as regards his
+authorship. The marble Lavabo in the sacristy of San Lorenzo is also a
+doubtful piece of sculpture. It has been attributed to Verrocchio,
+Donatello and Rossellino. It has least affinity to Donatello. The
+detailed attention paid by the sculptor to the floral decoration, and
+the fussy manner in which the whole thing is overcrowded, as if the
+artist were afraid of simplicity, suggest the hand of Rossellino, to
+whom Albertini, the first writer on the subject, has ascribed it.
+Donatello made the Marzocco, the emblematic Lion of the Florentines,
+and it has therefore been assumed that he also made its marble
+pedestal. This is held to be contemporary with the niche of Or San
+Michele. So far as the architectural and decorative lines are
+concerned this is not impossible, though the early Renaissance motives
+long retained their popularity. There is, however, one detail showing
+that the base must be at least twenty-five years older than the niche.
+The arms of the various quarters of Florence are carved upon the
+frieze of the base. Among these shields we notice one bearing &quot;on a
+field sem&#233;e of fleurs-de-lys, a label, above all a bendlet dexter.&quot;
+These are not Italian arms. They were granted in 1452 to Jean, Comte
+de Dunois, an illegitimate son of the Duc d'Orl&#233;ans. His coat had
+previously borne the bendlet sinister, but this was officially turned
+into a bendlet dexter, to show that the King had been pleased to
+legitimise him in recognition of his services to Joan of Arc. Jean was
+a contemporary<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span> of Donatello, and the coat may have been placed among
+the other shields as a compliment to France. Certainly no quarter of a
+town could use a mark of cadency below a bendlet, and Florence was
+more careful than most Italian towns to be precise in her heraldry.
+Numbers of stone shields bearing the arms of Florentine families were
+placed upon the palace walls. When high up and protected by the broad
+eaves they have survived; but, as a rule, those which were exposed to
+the weather, carved as they usually were in soft stone, have
+perished.<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> Bocchi mentions that Donatello made coats-of-arms for
+the Becchi, the Boni and the Pazzi. Others have been ascribed to him,
+namely, the Stemma of the Arte della Seta, from the Via di Capaccio,
+that on the Gianfigliazzi Palace, the shield inside the courtyard of
+the Palazzo Davanzati, and that on the Palazzo Quaratesi, all in
+Florence. These have been much repaired, and in some cases almost
+entirely renewed. The shield on the eastern side of the old Martelli
+Palace (in the Via de' Martelli, No. 9) is, perhaps, coeval with
+Donatello, but it is insignificant beside the shield preserved inside
+the present palace. This coat-of-arms, which is coloured according to
+the correct metals and tinctures, is one of the finest extant
+specimens of decorative heraldry. It is a winged griffin rampant, with
+the tail and hindlegs of a lion. The shield is supported by the stone
+figure of a retainer, cut in very deep relief, as the achievement was
+to be seen from the street below. But the shield itself rivets one's
+attention. This griffin can be classed with the Stryge, or<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span> the
+Etruscan Chim&#230;ra as a classic example of the fantastic monsters which
+were used for conventional purposes, but which were widely believed to
+exist. It possesses all the traditional attributes of the griffin. It
+is fearless and heartless: its horrible claws strike out to wound in
+every direction, and the whole body vibrates with feline elasticity,
+as well as the agile movement of a bird. Regarding it purely as a
+composition, we see how admirably Donatello used the space at his
+command: his economy of the shield is masterly. It is occupied at
+every angle, but nowhere crowded. The spaces which are left vacant are
+deliberately contrived to enhance the effect of the figure. It is the
+antithesis of the Marzocco.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> The sculptor must have seen lions, but
+the Marzocco is not treated in a heraldic spirit, although it holds
+the heraldic emblem of Florence, the <i>fleur de lys florenc&#233;e</i>.
+Physically it is unsuccessful, for it has no spring, there is very
+little muscle in the thick legs which look like pillars, and the back
+is far too broad. But Donatello is saved by his tact; he was
+ostensibly making the portrait of a lion; though he gives none of its
+features, he gives us all the chief leonine characteristics. He
+excelled in imaginary animals, like the Chinese artists who make
+admirable dragons, but indifferent tigers.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></p>
+
+<p style="text-align: center"><a name="IMAGE21">
+<img src="images/image21.jpg" width="400" height="295" alt="Salome Relief" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SALOME RELIEF, SIENA.</b></p>
+
+<p style="text-align: center"><span class="caption"><b>STATUETTE OF FAITH (TO LEFT)</b></span></p>
+
+<p>&#160;</p>
+
+
+
+<div class="sidenote">The Siena Font.</div>
+
+<p>Siena had planned her Cathedral on so ambitious a scale, that had not
+the plague reduced her to penury the Duomo of Florence would have been
+completely outrivalled. The Sienese, however, ordered various works of
+importance for their Cathedral, and among these the Font takes a high
+place. It was entrusted to Jacopo della Quercia, who had the active
+assistance of Donatello and Ghiberti, as well as that of the Turini
+and Neroccio, townsmen of his own. Donatello was thus brought under
+new influences. He made a relief, a <i>sportello</i> or little door, two
+statuettes, and some children, all in bronze, being helped in the
+casting by Michelozzo. Jacopo, who was about ten years older than
+Donatello, had been a competitor for the Baptistery gates. He was a
+man of immense power, in some ways greater than Donatello; never
+failing to treat his work on broad and massive lines, and one of the
+few sculptors whose work can survive mutilation. The fragments of the
+Fonte Gaya need no reconstruction or repair to tell their meaning;
+their statuesque virtues, though sadly mangled, proclaim the
+unmistakable touch of genius. But Donatello's personality was not
+affected by the Sienese artists. Jacopo, it is true, was constantly
+absent, being busily engaged at Bologna, to the acute annoyance of the
+Sienese, who ordered him to return forthwith. Jacopo said he would die
+rather than disobey, &quot;<i>potius eligeret mori quam non obedire patri&#230;
+su&#230;</i>&quot;; but the political troubles at the northern town prevented his
+prompt return. However, after being fined he got home, was reconciled
+to the Chapter, and ultimately received high honours from the city.
+His font is an interesting example of transition; the base is much
+more Gothic than the upper part. The<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> base or font proper is a large
+hexagonal bason decorated with six bronze reliefs and a bronze
+statuette between each&#8212;Faith, Hope, Charity, Justice, Prudence, and
+Strength. The reliefs are scenes from the life of the Baptist. From
+the centre of the font rises the tall Renaissance tabernacle with five
+niches, in which Jacopo placed marble statues of David and the four
+major prophets, one of which suggested the San Petronio of Michael
+Angelo. A statue of the Baptist surmounts the entire font. In spite of
+the number of people who co-operated with Jacopo, the whole
+composition is harmonious. Donatello made the gilded statuettes of
+Faith and Hope. The former, looking downwards, has something of
+Sienese severity. Hope is with upturned countenance, joining her hands
+in prayer; charming alike in her gesture and pose. Two instalments for
+these figures are recorded in 1428. The authorities had been lax in
+paying for the work, and we have a letter<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> asking the Domopera for
+payment, Donatello and Michelozzo being rather surprised&#8212;&quot;<i>assai
+maravigliati</i>&quot;&#8212;that the florins had not arrived. The last of these
+bronze Virtues, by Goro di Neroccio, was not placed on the font till
+1431. Donatello also had the commission for the <i>sportello</i>, the
+bronze door of the tabernacle. But the authorities were dissatisfied
+with the work and returned it to the sculptor, though indemnifying him
+for the loss.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a> This was in 1434, the children for the upper cornice
+having been made from 1428 onwards. The relief, which was ordered in
+1421, was finished some time in 1427. It is Donatello's first relief
+in bronze, and his earliest definitive effort to use a complicated
+architectural background. The incident is the head of St. John being
+presented on the charger by the kneeling executioner.<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> Herod starts
+back dismayed at the sight, suddenly realising the purport of his
+action. Two children playing beside him hurriedly get up; one sees
+that in a moment they, too, will be terror-stricken. Salome watches
+the scene; it is very simple and very dramatic. The bas-relief of St.
+George releasing Princess Sabra, the Cleodolinda of Spencer's Faerie
+Queen, is treated as an epic, the works having a connecting bond in
+the figures of the girls, who closely resemble each other. Much as one
+admires the <i>&#233;lan</i> of St. George slaying the dragon, this bronze
+relief of Siena is the finer of the two; it is more perfect in its
+way, and Donatello shows more apt appreciation of the spaces at his
+disposal. The Siena plaque, like the marble relief of the dance of
+Salome at Lille, to which it is analogous, has a series of arches
+vanishing into perspective. They are not fortuitous buildings, but are
+used by the sculptor to subdivide and multiply the incidents. They
+give depth to the scene, adding a sense of the beyond. The Lille
+relief has a wonderful background, full of hidden things, reminding
+one of the mysterious etchings of Piranesi.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE22"><img src="images/image22.jpg" width="313" height="400" alt="Tomb of Coscia" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>TOMB OF COSCIA, POPE JOHN XXIII.</b></p>
+
+<p style="text-align: center"><b><span class="caption">BAPTISTERY, FLORENCE</span></b></p>
+
+<p>&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE23"><img src="images/image23.jpg" width="400" height="289" alt="Effigy of John XXIII" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>EFFIGY OF POPE JOHN XXIII.</b></p>
+
+<p style="text-align: center"><b><span class="caption">BAPTISTERY, FLORENCE</span></b></p>
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Michelozzo and the Coscia Tomb.</div>
+
+<p>For ten years Donatello was associated with Michelozzo,<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a> who began
+as assistant and finally entered into a partnership which lasted until
+1433. The whole subject is obscure, and until we have a critical
+biography of Michelozzo his relation with various men and monuments of
+the fifteenth century must remain problematical. Michelozzo has not
+hitherto received his due meed of appreciation. As a sculptor and
+architect he frequently held a subordinate position, and it<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span> has
+been assumed that he therefore lacked independence and originality.
+But the man who was Court architect of the Medici, and director of the
+Cathedral building staff, was no mere hack; while his sculpture at
+Milan, Naples, and Montepulciano show that his plastic abilities were
+far from mean. He was a great man with interludes of smallness. When
+Donatello required technical help in casting, Michelozzo was called
+in. Though Donatello had worked for Ghiberti on the bronze gates, he
+was never quite at home in the science of casting. Gauricus says he
+always employed professional help&#8212;&quot;<i>nunquam fudit ipse, campanariorum
+usus opera semper</i>.&quot;<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a> Caldieri cast for him at Padua. Michelozzo
+also helped Luca della Robbia in casting the Sacristy gates which
+Donatello should have made; the commissions which Donatello threw over
+were those for work in bronze. The partnership extended over some of
+the best years of Donatello's life, and three tombs, the St. Louis,
+and the Prato pulpit are among their joint products. The tombs of Pope
+John XXIII. in the Baptistery, that of Aragazzi the Papal Secretary at
+Montepulciano, and that of Cardinal Brancacci at Naples, are
+noteworthy landmarks in the evolution of sepulchral monuments, which
+attained their highest perfection in Italy. In discussing them it will
+be seen how fully Michelozzo shared the responsibilities of Donatello.
+Baldassare Coscia, on his election to the Papacy, took the title of
+John XXIII. He was deposed by a council and retired to Florence, where
+he died in 1418. He was befriended by the Medici, who erected the
+monu<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>ment, the last papal tomb outside Rome, to his memory. &quot;<i>Johannes
+Quondam Papa XXIII.</i>&quot; is inscribed on it, and it is said that Coscia's
+successful rival objected to this appellation of his predecessor, but
+the protest went unheeded. The tomb is remarkable in many ways. Its
+construction is most skilful, as it was governed by the two upright
+pillars between which the monument had to be fitted. We have a series
+of horizontal lines; a frieze at the base, then three Virtues; above
+this the effigy, and finally a Madonna beneath a baldachino. Each tier
+is separated by lines which intersect the columns at right angles. The
+task of making a monument which would not be dwarfed by these huge
+plain pillars was not easy. But the tomb, which is decorated with
+prudent reserve, holds its own. The effigy is bronze: all the rest is
+marble. It was probably coloured, and a drawing in Ghiberti's
+note-book gives a background of cherry red, with the figures
+gilded.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a> Coscia lies in his mitre and episcopal robes, his head
+turned outwards towards the spectator. The features are admirably
+modelled with the firmness and consistency of living flesh: indeed it
+is the portrait of a sleeping man, troubled, perhaps, in his dream.
+The tomb was made some years after Coscia's death, and Donatello has
+not treated him as a dead man. The effigy is a contrast to that of
+Cardinal Brancacci, where we have the unmistakable lineaments and
+fallen features of a corpse. The dusky hue of Coscia's face should be
+noticed; the bronze appears to have been rubbed with some kind of dark
+composition, similar in tone to that employed by Torrigiano. Below the
+recum<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>bent Pope is the sarcophagus; two delightful winged boys hold
+the cartel on which the epitaph is boldly engraved. The three marble
+figures in niches at the base, Faith, Hope and Charity, belong to a
+different category. Albertini says that the bronze is by Donatello,
+and &quot;<i>li ornamenti marmorei di suoi discipuli</i>.&quot; Half a century later,
+Vasari says that Donatello made two of them, and that Michelozzo made
+the Faith, which is the least successful of the three. Modern
+criticism tends to revert to Albertini, assigning all to Michelozzo,
+with the presumption that Hope, which is derived from the Siena
+statuette, was executed from Donatello's design. Certainly the basal
+figures are without the <i>brio</i> of Donatello's chisel; likewise the
+Madonna above the effigy, which is vacillating, and may have been the
+earliest work of Pagno di Lapo, a man about whom we have slender
+authenticated knowledge, but whom we know to have been well employed
+in and around Florence. In any case, we cannot reconcile this Madonna
+with Michelozzo's sculpture. As will be seen later on, Michelozzo had
+many faults, but he was seldom insipid. The Madonna and Saints on the
+fa&#231;ade of Sant' Agostino at Montepulciano show that Michelozzo was a
+vigorous man. This latter work is certainly by him, the local
+tradition connecting it with one Pasquino da Montepulciano being
+unfounded. The Coscia tomb is among the earliest of that composite
+type which soon pervaded Italy. At least one other monument was
+directly copied from it, that of Raffaello Fulgosio at Padua. This was
+made by Giovanni da Pisa, and the sculptor's conflict between respect
+for the old model, and his desires after the new ideas, is apparent in
+the whole composition.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<div class="sidenote">The Aragazzi Tomb.</div>
+
+<p>In the <i>Denunzia de' beni</i> of 1427 Donatello states that he was
+working with Michelozzo on the tomb of Bartolommeo Aragazzi, and the
+monument has therefore been ascribed to them both. But recent research
+has established that, though preparatory orders were given in that
+year, a fresh contract was made two years later, and that Donatello's
+share in the work was nil. Michelozzo alone got payment up to 1436 or
+thereabouts, when the tomb was completed. Donatello's influence would,
+perhaps, have been visible in the design, but unhappily we can no
+longer even judge of this, for the tomb is a wreck, having been broken
+up to make room for structural alterations.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> Important fragments
+are preserved, scattered about the church; but the sketch of the tomb,
+said to be preserved in the local library, has never yet been
+discovered. The monument had ill-fortune from the very beginning. An
+amusing letter has come down to us, pathetic too, for it records the
+first incident in the tragedy. Leonardo Aretino writes to Poggio, that
+when going home one day he came across a party of men trying to
+extricate a wagon which had stuck in the deep ruts. The oxen were out
+of breath and the teamsmen out of temper. Leonardo went up to them and
+made inquiries. One of the carters, wiping the sweat from his brow,
+muttered an imprecation upon poets, past, present and future (<i>Dii
+perdant poetas omnes, et qui fuerunt unquam et qui</i><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span> <i>futuri sunt</i>.)
+Leonardo, a poet himself, asked what harm they had done him: and the
+man simply replied that it was because this poet, Aragazzi, who was
+lately dead, ordered his marble tomb to be taken all the way to
+Montepulciano from Rome, where he died; hence the trouble. &quot;<i>H&#230;c est
+imago ejus quam cernis</i>,&quot; said the man, pointing to the effigy, having
+incidentally remarked that Aragazzi was &quot;<i>stultus nempe homo ac
+ventosus</i>.&quot;<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> Certainly Aragazzi was not a successful man, and he
+was addicted to vanity. In the marble we see a wan melancholy face,
+seemingly of one who failed to secure due measure of public
+recognition. The monument need not be further described, except to say
+that two of the surviving figures are very remarkable. They probably
+acted as caryatides, of which there must have been three, replacing
+ordinary columns as supporters of the sarcophagus. They can hardly be
+Virtues, for they are obviously muscular men with curly hair and
+brawny arms. They are not quite free from mannerisms: the attitudes,
+granting that the bent position were required by their support of the
+tomb, are not quite easy or natural. But, in spite of this, they are
+really magnificent things, placing their author high among sculptors
+of his day.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE24">
+<img src="images/image24.jpg" width="301" height="400" alt="Tomb of Cardinal Brancacci" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>TOMB OF CARDINAL BRANCACCI</b></p>
+
+<p style="text-align: center"><span class="caption"><b>NAPLES</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Brancacci Tomb.</div>
+
+<p>The Church of Sant' Angelo a Nilo at Naples contains the monument of
+Cardinal Brancacci, one of the most impressive tombs of this period.
+The scheme is a modification of the Coscia tomb. Instead of the three
+Virtues in niches at the base, there are three larger allegorical
+figures, which are free standing<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> caryatides below the sarcophagus.
+They are allegorical figures, perhaps Fates, and correspond with the
+two somewhat similar statues at Montepulciano. The Cardinal's effigy
+lies upon the stone coffin, the face of which has a bas-relief between
+heraldic shields. Two angels stand above the recumbent figure, holding
+back the curtain which extends upwards to the next storey, surrounding
+a deep lunette in which there is a Madonna between two Saints. Here
+the monument should have ended, but it is surmounted by an ogival
+arch, flanked by two trumpeting children and with a central medallion
+of God the Father. This topmost tier may have been a subsequent
+addition. It overweights the whole monument, introduces a discordant
+architectural motive, and is decorated by inferior sculpture. The
+Madonna in the lunette is also poor, and the curtain looks as if it
+were made of lead. But the lower portion of the tomb compensates for
+the faults above. The caryatides, the bas-relief of the Assumption,
+the Cardinal himself and the mourning angels above him, are all superb
+in their different ways. Michelozzo may have been responsible for the
+architecture, and Pagno di Lapo for the upper reliefs. Donatello
+himself made the priceless relief of the Assumption, also the effigy,
+and the two attendants standing above it. The entire tomb is marble:
+it was made at Pisa,<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> close to the inexhaustible quarries which,
+being near to the sea, made transport easy and cheap. From the time of
+Strabo, the <i>marmor Lunense</i> had been carried thence to every port of
+the Peninsula.<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span> Michelozzo took the tomb to Naples, and perhaps
+added the final touches: not, indeed, that the carving is quite
+complete, the Cardinal's ear, for instance, being rough-hewn.
+Brancacci lies to the left, wearing a mitre on his head, which is
+raised on a pillow. The chiselling of the face is masterly. The
+features are shown in painful restless repose. The eyes are sunken and
+half closed: the lips are drawn, the brow contracted, and the throat
+shows all the tendons and veins which one notices in the Habbakuk, but
+which are here relaxed and uncontrolled. It is a death-mask: a grim
+and instantaneous likeness of the supreme moment, when the agony may
+have passed away, but not without leaving indelible traces of the
+crisis. The two angels look down on the dead prelate. They hold back
+the curtain which would conceal the effigy, thus inviting the
+spectator into the privacy of the tomb. In some ways these two angels
+are among the noblest creations of the master. They are comparatively
+small, their position is subordinate, and they have been repaired by a
+clumsy journeyman. Yet they have a majestic solemnity. They are calm
+impersonal mourners&#8212;not shrouded like the bowed figures which bear
+the effigy of the S&#233;n&#233;chal of Burgundy.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a> They stand upright, simply
+posed and simply clad guardian angels, absorbed by watching the dead.
+The three large figures which support the sarcophagus are by
+Michelozzo, and are intimately related to the Aragazzi caryatides.
+That on the right has a Burgundian look. They form a striking group,
+and their merits are not appreciated as they should be owing to the
+excellence of the sculpture immediately above them.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p>
+
+<div class="sidenote">Stiacciato.</div>
+
+<p>The Assumption of the Virgin occupies the central position of the
+tomb. It is a small panel. The Virgin is seated in a folding-chair
+which is familiar in fifteenth-century art. Surrounding her are angels
+supporting the clouds which make an oval halo round her, a <i>mandorla</i>.
+The cloud, curiously enough, is very heavy, yielding to the touch, and
+upheld by the flying angels, whose hands press their way into it, and
+bear their burden with manifest effort. There is none of the limpid
+atmosphere which Perugino secured in painting, and Ghiberti in
+sculpture. But, on the other hand, the air is full of drama, presaging
+an event for which Donatello thought a placid sky unsuitable. There
+are seven angels in all; the lowest, upon whose head the Virgin rests
+her foot, is half Blake and half Michael Angelo. But there are many
+other busy little cherubs swimming, climbing, and flying amidst the
+interstices of cloudland. The Virgin herself, draped in easy-flowing
+material, has folded her hands, and awaits her entry to Paradise. Her
+face is the picture of anxiety and apprehension. The Assumption is
+carved in the lowest possible relief, called <i>stiacciato</i>. The word
+means depressed or flattened. It is the word with which Condivi
+describes the appearance of Michael Angelo's nose after it had been
+broken&#8212;it was &quot;<i>un poco stiacciato; non per natura</i>,&quot; but by the blow
+of a certain Torrigiano, &quot;<i>huomo bestiale e superbo</i>.&quot;<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a> Donatello
+was fond of this method of work. We have a fine example in London,<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a>
+and his most successful use of <i>stiacciato</i> is on the Roman Tabernacle
+made a few years after the Brancacci relief. Donatello did not invent
+this style. It had been used in<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span> classical times, though scarcely to
+the extent of Donatello, who drew in the marble. The Assyrians also
+used this low-relief; we find the system fully understood in what are
+perhaps the most spirited hunting scenes in the world.<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> In these
+we also notice the square and rectangular undercutting similar to that
+in many of Donatello's reliefs. Another specimen of this very
+low-relief is found in Mr. Quincy Shaw's marble panel of the Virgin
+and Child seated among clouds and surrounded by <i>putti</i>. This has been
+attributed to Donatello on good authority,<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> though it must be
+remarked that the cherubs' faces show poverty of invention which might
+suggest the hand of a weaker man. Moreover, the cherubs have halos,
+which is a later development, and quite contrary to Donatello's early
+practice. But the relief is an interesting composition, and if by
+Donatello, may be regarded as the parent of a group which attained
+popularity. M. Gustave Dreyfus has a smaller marble variant of great
+charm, made by Desiderio. A stucco panel treated in much the same
+manner is preserved at Berlin. The Earl of Wemyss has an early version
+in <i>repouss&#233;</i> silver of high technical merit. From this point of view
+nothing is more instructive than a Madonna and Child at Milan.<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a> It
+is probably the work of Pierino da Vinci, and is a thin oval slab of
+marble carved on either side. One side is unfinished, and is most
+valuable as showing the facility with which the sharp graving tools
+were employed to incise the marble. The composition bears a
+resemblance to the reliefs just mentioned, and the pose of the two
+heads is Donatellesque, but the Child is elongated and ill-drawn.
+Again, from a<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> technical point of view, a medallion portrait of the
+late Lord Lytton shows that artists of our own day have used
+<i>stiacciato</i> with perfect confidence and success.<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> Donatello was
+not always quite consistent in its employment. In the Entombment at
+Padua it is combined with high-relief. He, no doubt, acted
+deliberately; that is to say, he did not sketch a hand in
+<i>stiacciato</i>, because he had forgotten to provide for it in deeper
+relief. But the result is that the quality of the different planes is
+lost, and there are discrepancies in the relative values of distance.
+The final outcome of <i>stiacciato</i> is the art of the medallist. It is
+said that Donatello made a medal, but nobody has determined which it
+is. Michelozzo certainly made one of Bentivoglio, about 1445.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a>
+This admirable art, which reached its perfection during Donatello's
+lifetime, owes something of its progress to the pioneer of
+<i>stiacciato</i>.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE25">
+<img src="images/image25.jpg" width="302" height="400" alt="Tomb Plate of Bishop Pecci" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>TOMB PLATE OF BISHOP PECCI</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SIENA CATHEDRAL</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Tombs of Pecci, Crivelli, and Others.</div>
+
+<p>The tomb of Giovanni de' Medici in San Lorenzo is interesting, and has
+been ascribed to Donatello. There is no documentary authority for this
+attribution, and on stylistic grounds it is untenable.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a> It is a
+detached tomb, so common elsewhere, but of singular rarity in Italy.
+The isolated tomb like this one, like that of Ilaria del Carretto, or
+that of Pope Sixtus IV. in St. Peter's, has great advantages over the
+tall upright monument <i>appliqu&#233;</i> to a church wall. The latter is,
+however, the ordinary type of the Renaissance.<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> The free-standing tomb
+can be seen from all aspects and lights. Although it must be
+smaller&#8212;some of the later wall-tombs are fifty feet high&#8212;the
+sculptor was obliged to keep his entire work well within the range of
+vision, and had to rely on plastic art alone for success. Much
+admirable sculpture, especially the effigies, has been lost by being
+placed too high on some pretentious catafalque in relief against a
+wall. The tomb of Giovanni, it is true, though standing in the centre
+of the sacristy, is covered by a large marble slab, which is the
+priest's table. It throws the tomb into dark shadow and makes it
+difficult to see the carving. There are few tombs of important people
+upon which so much trouble has been expended with so little result.
+Donatello is also said to have made a tomb for the Albizzi, but it has
+perished.<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> The tomb of Chellini in San Miniato, which tradition
+ascribed to Donatello, is probably the work of Pagno di Lapo. The prim
+and priggish Cardinal Accaiuoli in the Certosa of Florence does not
+suggest Donatello's hand. Though conscientious and painstaking, the
+work is without a spark of energy or conviction. These latter are
+slab-tombs, flat plates fastened into the church pavements. We have
+two authentic tombs of this character, on both of which Donatello has
+signed his name. Had he not done so, we could never have established
+his authorship of the marble slab-tomb of Archdeacon Crivelli in the
+Church of Ara C&#339;li at Rome. It has been trampled by the feet of so
+many generations, that all the features have been worn away; the
+legend is wholly effaced in certain parts, and one corner has had to
+be restored (though at some early date). But at best it cannot have
+compared with Donatello's similar tomb of<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span> Bishop Pecci at Siena, and
+one could quote numerous instances of equally good work by nameless
+men. There is one close to the Crivelli marble itself, another in the
+Pisa Baptistery, two in Santa Croce, and so forth. This kind of tomb
+had to undergo rough usage. Everybody walked upon it: the deep relief
+made it a receptacle for mud and rubbish. The effigy of the deceased,
+as was probably intended by him, was humbled in the dust: <i>adhesit
+pavimento</i>. The slabs got injured, and were often protected by low
+tables with squat legs. Later on the slabs were raised enough to
+prevent people standing on them, and thus became like free-standing
+tombs; but it only made them more suitable for the sitting
+requirements of the congregation. These sunken tombs, in fact, became
+a nuisance. Although they were not carved in the very deep relief like
+those one sees in Bavaria, they collected the dirt, and a papal brief
+was issued to forbid them&#8212;<i>ut in ecclesiis nihil indecens
+relinquatur</i>,<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> and the existing slabs were ordered to be removed.
+Irretrievable damage must have resulted from this edict, but
+fortunately it was disobeyed in Rome and ignored elsewhere. Nowadays
+it has become the custom to place these slabs upright against the
+walls, thus preventing further detrition. To Cavaliere D. Gnoli we owe
+the preservation of the Crivelli tomb, which was in danger of complete
+demolition.<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> By<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span> being embedded in a wall instead of lying in a
+pavement this kind of monument, while losing its primitive position,
+often gains in appearance. Crivelli, for instance, lies within an
+architectural niche. His head rests on a pillow, the tassels of which
+fall downwards towards his feet. When placed against a wall the need
+for a pillow may vanish, but the meaning and use of the niche becomes
+apparent, while the tassels no longer defy the laws of gravitation. He
+becomes a standing figure at once, and the flying <i>putti</i> above his
+head assume a rational pose. It has been suggested that this and
+similar tomb-plates were always intended to be placed upright, and
+that the delicate ornamentation, of which some traces survive, would
+never have been lavished on marble doomed to gradual destruction. No
+general rule can be laid down, but undoubtedly most of these slabs
+were meant to be recumbent. There are few cases where some
+contradiction of <i>emplacement</i> with pose cannot be detected. But two
+examples may be noted where the slabs were clearly intended to be
+placed in walls. An unnamed bishop at Bologna lies down, while at
+either end of the slab an angel <i>stands</i>, at right angles to the
+recumbent figure, holding a pall or curtain over the dead man.<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a>
+Signor Bardini also has an analogous marble effigy of a mitred bishop,
+about 1430-40, who lies down while a friar stands behind his head.
+These slabs were, therefore, obviously made for insertion in a wall,
+and they are quite exceptional. The tomb-plate of Bishop Pecci in
+Siena Cathedral is less open to objection on the ground of incongruity
+between its position and the Bishop's pose. It is made of bronze, and
+is set in the tessellated pavement of green, white and mauve marble.
+Technically it is a<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span> triumph. Although the surface is considerably
+worn, we have the sense of absolute calm and repose&#8212;in striking
+contrast to the wearied look of Brancacci. The Bishop died on March 1,
+1426; a few days previously he wrote his will, while he lay
+dying&#8212;&quot;<i>sanus mente licet corpore languens</i>&quot;&#8212;and left careful
+instructions as to his burial in an honourable part of the Cathedral
+and how the exact cost of his funeral was to be met.<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a> In a way the
+figure resembles St. Louis, and Donatello probably had the help of
+Michelozzo in the casting. The work itself is extremely good, and the
+bronze has the rich colour which one finds most frequently in the
+smaller provincial towns where time is allowed to create its own
+<i>patina</i>. Donatello was a bold innovator, and the Tomb of Coscia,
+though not the parent of the Renaissance theory of funeral monuments,
+had marked influence upon its evolution. From the simple outdoor tombs
+placed upon pillars, such as one principally finds north of the
+Apennines, there issued a grander idea which culminated in the
+monuments of the Scaligers at Verona. But Donatello reverted to the
+earlier type of indoor tomb, and from his day the tendency to treat
+them as an integral feature of mural and structural decoration
+steadily increased. A host of sculptors filled the Tuscan churches
+with those memorials which constitute one of their chief attractions.
+These men imbued death with its most gentle aspect, concealing the
+tragedy and sombre meaning of their work with gay arabesques and the
+most living and lovable creations of their fancy. The <i>putti</i>, the
+bright heraldry, the play of colour, and the opulence of decoration,
+often distract one's eye from the effigy of the dead: and he, too, is
+often smiling. He may represent<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> the past: the rest of the tomb is
+born of the present, and seldom&#8212;exception being made for a group of
+tombs to which reference will be made later on<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a>&#8212;seldom is there
+much regard for the future. The dead at least are not asked to bury
+their dead. They lie in state, surrounded by all that is most young
+and blithe in life: it is a death which shows no indifference to the
+life which is left behind. With them death is in the midst of life,
+not life in the midst of death. Donatello was too severe for the later
+Renaissance, and the brilliant sculptors who succeeded him lost
+influence in their turn. With the development of sculpture, which
+during Michael Angelo's lifetime acquired a technical skill to which
+Donatello never aspired, the tomb became a vehicle for ostentation and
+display; and there was a reaction towards the harsher symbols of
+death. Instead of the quiet mourner who really mourns, we have the
+strident and professional weeper&#8212;a parody of sorrow. Tier upon tier
+these prodigious monuments rise, covering great spaces of wall,
+decorated with skulls and skeletons, with Time carrying his scythe,
+with negro caryatides, and with apathetic or showy models masquerading
+as the cardinal virtues. The effigy itself is often perched up so high
+as to be invisible, or sitting in a ridiculous posture. &quot;Princes'
+images on their tombs,&quot; says Bosola in Webster's play, &quot;do not lie as
+they were wont, seeming to pray up to heaven; but with their hands
+under their cheeks, as if they had died of toothache.&quot;<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a> Venice
+excelled in this rotund and sweltering sculpture. Yet it cannot be
+wholly condemned. Though artificial, theatrical and mundane, its
+technical supremacy cannot be<span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span> denied. The amazing ease with which
+these huge monuments are contrived, and the absolute sense of mastery
+shown by the sculptor over the material are qualities too rare to be
+lightly overlooked. Whatever we may think of the artist, our
+admiration is commanded by the craftsman.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">The Second Visit to Rome.</div>
+
+<p>During the year 1433, when Florence enjoyed the luxury of driving
+Cosimo de' Medici into exile, Donatello went to Rome in order to
+advise Simone Ghini about the tomb of Pope Martin V.&#8212;<i>temporum suorum
+filicitas</i>, as the epitaph says.<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> This visit to Rome, which is not
+contested, like the visit thirty years earlier, did not last long, and
+certainly did not divert Donatello from the line he had struck out. At
+this moment the native art of Rome was colourless. A generation later
+it became classical, and then lapsed into decadence. The number of
+influences at work was far smaller than would at first be imagined. It
+is generally assumed that Rome was the home of classical sculpture.
+But early in the fifteenth century Rome must have presented a scene of
+desolation. The city had long been a quarry. Under Vespasian the
+Senate had to pass a decree against the demolition of buildings for
+the purpose of getting the stone.<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a> Rome was plundered by her
+emperors. She was<span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span> looted by Alaric, Genseric, Wittig and Totila in
+days when much of her art remained <i>in situ</i>. She was plundered by her
+Popes. Statues were used as missiles; her marble was exported all over
+the world&#8212;to the Cathedrals of Orvieto and Pisa, even to the Abbey
+Church of Westminster. Suger, trying to get marble columns for his
+church, looked longingly at those in the baths of Diocletian, a
+natural and obvious source, though happily he stole them
+elsewhere.<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> The vandalism proceeded at an incredible pace. Pius
+II. issued a Bull in 1462 to check it; in 1472 Sixtus IV. issued
+another. Pius, however, quarried largely between the Capitol and the
+Colosseum. The Forum was treated as an ordinary quarry which was let
+out on contract, subject to a rental equivalent to one-third of the
+output. But in 1433, and still more during the first visit, there was
+comparatively little sculpture which would lead Donatello to classical
+ideas. Poggio, writing just before Donatello's second visit, says he
+sees almost nothing to remind him of the ancient city.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a> He speaks
+of a statue with a complete head as if that were very
+remarkable&#8212;almost the only statue he mentions at all. Ghiberti
+describes two or three antique statues with such enthusiasm that one
+concludes he was familiar with very few. In fact, before the great
+digging movement which enthralled the Renaissance, antique sculpture
+was rare. But little of Poggio's collection came from Rome: Even
+Lorenzo de' Medici got most of his from the provinces. A century later
+Sabba<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> del Castiglione complains of having to buy a Donatello owing to
+the difficulty of getting good antiques.<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> Rome had been devastated
+by cupidity and neglect as much as by fire and sword. &quot;Ruinarum urbis
+Rom&#230; descriptio&quot; is the title of one of Poggio's books. Alberti says
+that in his time he had seen 1200 ruined churches in the city.<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a>
+Bramantino made drawings of some of them.<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> Pirro Ligorio, an
+architect of some note, gives his recipe for making lime from antique
+statues&#8212;so numerous had they become. But much remained buried before
+that time, <i>sotterrate nelle Rovine d'Italia</i>,<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a> and Vasari
+explains that Brunellesco was delighted with a classical urn at
+Cortona, about which Donatello had told him, because such a thing was
+rare in those times, antique objects not having been dug up in such
+quantities as during his own day.<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> But the passion for classical
+learning developed quickly, and was followed by the desire for
+classical art. Dante had scarcely realised the art of antiquity,
+though more was extant in 1300 than in 1400. Petrarch, who was more
+sympathetic towards it, could scarcely translate an elementary
+inscription. From the growing desire for knowledge came the search for
+tangible relics: but love of classical art was founded on sentiment
+and tradition. As regards the sculptors themselves, their art was less
+influenced by antiquity than were<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> the arts of poetry, oratory and
+prose. While Rossellino, Desiderio, Verrocchio and Benedetto da Maiano
+maintained their individuality, the indigenous literature of Tuscany
+waned. Sculpture retained its freedom longer than the literary arts,
+and when the latter recovered their national character sculpture
+relapsed in their place into classicism. From early times sculptors
+had, of course, learned what they could from classical exemplars.
+Niccola Pisano copied at least four classical motives. There was no
+plagiarism; it was a warm tribute on his part, and at that time a
+notable achievement to have copied at all. But the imitation of
+antiquity was carried to absurd lengths. Ghiberti, who was a literary
+man, says that Andrea Pisano lived in the 410th Olympiad.<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> But
+Ghiberti remained a Renaissance sculptor, and his classical
+affectation is less noticeable in his statues than in his prose.
+Filippo Strozzi went so far as to emancipate his favourite slave, a
+&quot;<i>grande nero</i>,&quot; in his will.<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> But Gothic art died hard. The
+earlier creeds of art lingered on in the byways, and the Renaissance
+was flourishing long before Gothic ideas had completely perished&#8212;that
+is to say, Renaissance in its widest meaning, that of reincarnated
+love of art and letters: if interpreted narrowly the word loses its
+deep significance, for the Renaissance engendered forms which had
+never existed before. But it must be remembered that in sculpture
+classical ideas preceded classical forms. Averlino, or Filarete, as a
+classical whim led him to be called, began the bronze doors of St.
+Peter's just before Donatello's visit. They are replete with classical
+ideas, ignoble and fantastic, but the art is still Renaissance.
+Comparatively little<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> classical art was then visible, and its
+infallibility was not accepted until many years later, when Rome was
+being ransacked for her hidden store of antiquities. Statues were
+exhumed from every heap of ruins, generally in fragments: not a dozen
+free-standing marble statues have come down to us in their pristine
+condition. The quarrymen were beset by students and collectors anxious
+to obtain inscriptions. Traders in forgeries supplied what the diggers
+could not produce. Classical art became a fetish.<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> The noble
+qualities of antiquity were blighted by the imitators, whose inventive
+powers were atrophied, while their skill and knowledge left nothing to
+be desired. Excluding the Cosmati, Rome was the mother of no period or
+movement of art excepting the Rococo. As for Donatello himself, he was
+but slightly influenced by classical motives. His sojourn in Rome was
+short, his time fully occupied; he was forty-seven years old and had
+long passed the most impressionable years of his life. He was a noted
+connoisseur, and on more than one occasion his opinion on a question
+of classical art was eagerly sought. But, so far as his own art was
+concerned, classical influences count for little. His architectural
+ideas were only classical through a Renaissance medium. When a patron
+gave him a commission to copy antique gems, he did his task faithfully
+enough, but without zest and with no ultimate progress in a similar
+direction. When making a portrait he would decorate the sitter's
+helmet or breastplate with the cameo which actually adorned it. With
+one exception,<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> classical art must be sought in his detail, and only
+in the detail of work upon which the patron's advice could be suitably
+offered and accepted. Donatello may be compared with the great
+sculptors of antiquity, but not to the extent of calling him their
+descendant. Raffaelle Mengs was entitled to regret that the other
+Raffaelle did not live in the days of Phidias.<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> Flaxman was
+justified in expressing his opinion that some of Donatello's work
+could be placed beside the best productions of ancient Greece without
+discredit.<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> These <i>obiter dicta</i> do not trespass on the domain of
+artistic genealogy. But it is inaccurate to say, for instance, that
+the St. George is animated by Greek nobility,<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> since in this
+statue that quality (whether derived from Gothic or Renaissance
+ideals) cannot possibly have come from a classical source. Baldinucci
+is on dangerous ground in speaking of Donatello as &quot;<i>emulando
+mirabilmente la perfezione degli antichissimi scultori
+greci</i>&quot;<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a>&#8212;the writer's acquaintance with archaic Greek sculpture
+may well have been small! We need not quarrel with Gori for calling
+Donatello the Florentine Praxiteles; but he is grossly misleading in
+his statement that Donatello took the greatest pains to copy the art
+of the ancients.<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a> Donatello may be the medi&#230;val complement of
+Phidias, but he is not his artistic offspring.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span></p>
+
+<p style="text-align: center"><a name="IMAGE26">
+<img src="images/image26.jpg" width="301" height="400" alt="Tabernacle" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>TABERNACLE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>ST. PETER'S, ROME</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE27">
+<img src="images/image27.jpg" width="500" height="231" alt="Charge to Peter" /></a></p>
+
+
+<p style="text-align: center"><b>THE CHARGE TO PETER</b></p>
+
+<p style="text-align: center"><span class="caption"><b>LONDON</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Work at Rome.</div>
+
+<p>Up till a few years ago the most important work Donatello made in Rome
+was unknown. We were aware that he had made a tabernacle, but all
+record of it was lost, until Herr Schmarsow identified it in
+1886.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a> It was probably made for the Church of Santa Maria della
+Febbre,<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a> and was transported to St. Peter's when Santa Maria was
+converted into a sacristy. The tabernacle is now in the Sacristy of
+the Canons, surrounded by sham flowers and tawdry decoration, which
+reduce its charms to a minimum. Moreover, the miraculous painting of
+the Madonna and Child which fills the centrepiece&#8212;having, perhaps,
+replaced a metal grille or marble relief, has been so frequently
+restored that a discordant element is introduced. The tabernacle is
+about six feet high; it is made of rather coarse Travestine marble,
+and in several parts shows indications of the hand of an assistant. It
+has suffered in removal; there are two places where the work has been
+repaired, and the medallion in the lower frieze has been filled with
+modern mosaic; otherwise it is in good order. It is essentially an
+architectural work, but the number of figures introduced has softened
+the hard lines of the construction, giving it plenty of life. Four
+little angels, rather stumpy and ill-drawn, are sitting on the lower
+plinth. Above them rise the main outer columns which support the upper
+portion of the tabernacle, and enclose the central opening, where the
+picture is now fixed. At the base of these columns there are two
+groups of winged children, three on either side, looking inwards
+towards the central feature of the composition. They bend forward
+reverently with their hands joined in prayer and
+adoration<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>&#8212;admirable children, full of shyness and deference. The
+upper part of the tabernacle, supported on very plain corbels, is
+occupied by a broad relief, at either end of which stand other winged
+angels, more boyish and confident than those below. This relief is,
+perhaps, Donatello's masterpiece in <i>stiacciato</i>. It is the
+Entombment, his first presentment of those intensely vivid scenes
+which were so often reproduced during his later years. Christ is just
+being laid in the tomb by two solemn old men with flowing beards, St.
+Joseph and St. Peter. The Virgin kneels as the body is lowered into
+the tomb. Behind her is St. Mary Magdalene, her arms extended, her
+hair dishevelled; scared by the frenzy of her grief. To the right St.
+John turns away with his face buried in his hands. The whole
+composition&#8212;striking in contrast to the quiet and peaceful figures
+below&#8212;is treated with caution and reserve. But we detect the germ of
+the pulpits of San Lorenzo, where the rough sketch in clay could
+transmit all its fire and energy to the finished bronze. In this case
+Donatello not only felt the limitations of the marble, but he was not
+yet inclined to take the portrayal of tragedy beyond a certain point.
+The moderation of this relief entitles it to higher praise than we can
+give to some of his later work. The other panel in <i>stiacciato</i> made
+about this time belonged to the Salviati family.<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a> Technically the
+carving is inferior to that in St. Peter's, and it may be that in
+certain parts, especially,<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span> for instance, round the heads of Christ
+and one of the Apostles, the work is unfinished. Christ is seated on
+the clouds, treated like those on the Brancacci panel, and hands the
+keys to St. Peter. The Apostles stand by, the Virgin kneels in the
+foreground, and on the left there are two angels like those on the
+tabernacle. Trees are lightly sketched in, and no halos are employed.
+The work is disappointing, for it is carved in such extraordinarily
+low-relief that parts of it are scarcely recognisable on first
+inspection; the marble is also rather defective. As a composition&#8212;and
+this can best be judged in the photograph&#8212;the Charge to Peter is
+admirable. The balance is preserved with skill, while the figures are
+grouped in a natural and easy fashion. The row of Apostles to the left
+shows a rendering of human perspective which Mantegna, who liked to
+make his figures contribute to the perspective of the architecture
+around them, never surpassed. This panel, in spite of Bocchi's praise,
+shares one obvious demerit with the relief in St. Peter's. The Virgin,
+who kneels with outstretched hands as she gazes upwards to the Christ,
+is almost identical with a figure on the Entombment. She is ugly, with
+no redeeming feature. The pose is awkward, the drapery graceless, the
+contour thick, and her face, peering out of the thick veil, is
+altogether displeasing. One has no right to look for beauty in
+Donatello's statues of adults: character is what he gives. But neither
+does one expect this kind of vagary. There is great merit in the
+plaintive and wistful ugliness of the Zuccone: Here the ugliness is
+wanton, and therefore inexcusable. The Crivelli tomb and the Baptist
+in San Giovanni Fiorentino have been already described. There were
+other products of Donatello's visit to Rome, but they are now lost.
+Tradition still maintains<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span> that the wooden Baptist in S. Giovanni
+Laterano is his work. But it cannot possibly be by him, though it may
+be a later copy of a fifteenth-century original. Curiously enough,
+there is another Baptist in the same church which is Donatellesque in
+character and analogous in some respects to the St. John at Siena,
+namely, the large bronze statue signed by Valadier and dated 1772.
+Valadier was a professional copyist, some of his work being in the
+Louvre. Where he got the design for this Baptist we do not know; but
+it is certainly not typical of the late eighteenth century. Titi
+mentions a head in Santa Maria Sopra Minerva, and a medallion portrait
+of Canon Morosini in Santa Maria Maggiore.<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a> Neither of them can be
+found.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">The Medici Medallions.</div>
+
+<p>The Medici did not remain in exile long, and their return to Florence
+marks an epoch in the artistic as well as the political history of
+Tuscany. From this moment the sway of the private collector and patron
+began. Gradually the great churches and corporations ceased giving
+orders on the grand scale, for much of the needful decoration was by
+then completed. By the middle of the century patronage was almost
+wholly vested in the magnates of commerce and politics: if a chapel
+were painted or a memorial statue set up, in most cases the artist
+worked for the donor, and not for the church authorities. The
+monumental type of sculpture became more rare, <i>bric &#224; brac</i> more
+common. Well-known<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span> men like Donatello received the old kind of
+commission to the end of their lives, while younger men, though fully
+occupied, were seldom entrusted with comprehensive orders. Even
+Michael Angelo was more dependent on the Pope than upon the Church.
+Among the earliest commissions given by the Medici after their return
+was an order for marble copies of eight antique gems. These were
+placed in the courtyard of their Florentine house, now called the
+Palazzo Riccardi. They are colossal in size, and represent much labour
+and no profit to art. Nothing is more suitably reproduced on a cameo
+than a good piece of sculpture; but the engraved gem is the last
+source to which sculpture should turn for inspiration. Donatello had
+to enlarge what had already been reduced; it was like copying a
+corrupt text. The size of these medallions accentuates faults which
+were unnoticed in the dainty gem. The intaglio of Diomede and the
+Palladium (now in Naples) is too small to show the fault which is so
+glaring in the marble relief, where Diomede is in a position which it
+is impossible for a human being to maintain. But the relief is
+admirably carved: nothing could be better than the straining sinews of
+the thigh; and it is of interest as being the only one which is
+related to any other work of the sculptor. The head of one of the
+angels in the Brancacci Assumption is taken from this Diomede or from
+some other version of it. A similar treatment is found in Madame
+Andr&#233;'s relief of a young warrior. It has been pointed out that some
+of the gems from which these medallions were made did not come into
+the Medici Collections until many years later.<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a> Cosimo may have
+owned casts of the originals, or Donatello may have copied<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span> them in
+Rome, for they belonged at this time to the Papal glyptothek, from
+which they were subsequently bought. The subjects of these roundels
+are Ulysses and Athena, a faun carrying Bacchus, two incidents of
+Bacchus and Ariadne, a centaur, D&#230;dalus and Icarus, a prisoner before
+his victor, and the Diomede. Gems became very popular and expensive: a
+school of engravers grew up who copied, invented, and forged.
+Carpaccio introduced them into his pictures,<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a> and Botticelli used
+them so freely that they almost became the ruling element of
+decoration in the &quot;Calumny.&quot; Gems are incidentally introduced in
+Donatello's bust of the so-called Young Gattamelata, and on Goliath's
+helmet below the Bronze David. The Medusa head occurs on the base of
+the Judith, on the Turin Sword hilt, and on the armour of General
+Gattamelata. So much of Donatello's work has perished that it is
+almost annoying to see how well these Medici medallions are
+preserved&#8212;the work in which his individuality was allowed little
+play, and in which he can have taken no pride.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE28">
+<img src="images/image28.jpg" width="298" height="400" alt="The Bronze David" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>THE BRONZE DAVID</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BARGELLO, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Bronze David.</div>
+
+<p>According to Vasari, the Bronze David was made for Cosimo before the
+exile of the Medici, and consequently previous to Donatello's second
+journey to Rome. It was removed from the courtyard of the palace to
+the Palazzo Pubblico, where it remained for many years. Doni mentions
+it as being there in 1549,<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a> and soon afterwards it was replaced by
+Verrocchio's fountain of the Boy squeezing the Dolphin. It is now in
+the<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> Bargello. The base has been lost. Albertini says it was made of
+variegated marbles.<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a> Vasari says it was a simple column.<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> It
+has been suggested that the marble pillar now supporting the Judith
+belonged to the David, but the David is even less fitted to this
+ill-conceived and pedantic shaft than Judith herself. The David soon
+acquired popularity; the French envoy, Pierre de Rohan, wanted a copy
+of it. It was certainly a remarkable innovation, being probably the
+first free-standing nude statue made in Italy for a thousand years.
+There had been countless nude figures in relief, but the David was
+intended to be seen from every side of Cosimo's <i>cortile</i>. There was
+no experimental stage with Donatello; his success was immediate and
+indeed conclusive. David is a stripling. He stands over the head of
+Goliath, a sword in one hand and a stone in the other, wearing his
+helmet, a sort of sun-hat in bronze which is decorated with a chaplet
+of leaves; below his feet is a wreath of bay. It is a consistent study
+in anatomy. The David is perhaps sixteen years old, agile and supple,
+with a hand which is big relative to the forearm, as nature ordains.
+The back is bony and rather angular; the torso is brilliantly wrought,
+with a purity of outline and a <i>morbidezza</i> which made the artists in
+Vasari's time believe the figure had been moulded from life. One might
+break the statue into half a dozen pieces, and every fragment would
+retain its vitality and significance. The limbs are alert and full of
+young strength, with plenty more held in reserve: it is heroic in all
+respects except dimension. The face is clear cut, and each feature
+is<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span> rendered with precision. The expression is one of dreamy
+contemplation as he looks downwards on the spoils and proof of
+conquest. David hath slain his tens of thousands! Finally the quality
+of the statue is enhanced by the care with which the bronze has been
+chiselled. Goliath's helmet, and David's greaves, on which the <i>fleur
+de lys florenc&#233;e</i> has been damascened, are decorated with unfailing
+tact. The embellishment is in itself a pleasure to the eye, but it is
+prudently contained within its legitimate sphere; for Donatello would
+not allow the accessory to invade the statue itself, which is the
+chief fault of the rival David by Verrocchio. Donatello's statue marks
+an epoch in the study of anatomy. It is a genuine interpretation of a
+very perfect piece of humanity; but his knowledge compared with that
+of his successors was empiric. Leonardo's subtle skill was based upon
+dissection. Michael Angelo likewise studied from the human corpse,
+distasteful as he found the process. Donatello had no such scientific
+training: he had no help from the surgeon or the hospital, hence
+mistakes; his doubt, for instance, about the connection between ribs
+and pectoral bones was never resolved. But, notwithstanding this lack
+of technical data, the Bronze David has a distinction which is absent
+in statues made by far more learned men. Donatello's intuition
+supplied what one would not willingly exchange for the most exact
+science of the specialist. The David was an innovation, but the phrase
+must be guarded. It was only an innovation so far as it was a
+free-standing study from the nude. Nothing is more misleading than the
+commonplace that Christianity was opposed to the representation of the
+nude in its proper place. The early Church, no doubt, underwent a
+prolonged reaction against all that it might be assumed to connote;<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+one might collect many quotations from patristic literature to this
+effect. But the very articles of the Christian Creed militated against
+the ultimate scorn of the human body: the doctrine of the Resurrection
+alone was enough to give it more sanctity than could be derived from
+all the polytheism of antiquity. The Baptism of Christ, the descent
+into Limbo, and the Crucifixion itself, were scenes from which the use
+of drapery had to be less or more discarded. The porches and frontals
+of Gothic churches abounded in nude statuary, from scenes in the
+Garden of Eden down to the Last Judgment. Abuses crept in, of course,
+and the Faith protested against them. The advancing standard of
+comfort and, no doubt, a steadily deteriorating climate, diminished
+the everyday familiarity with undraped limbs. Clothes became numerous
+and more normal; the artist came to be regarded as the purveyor of
+what had ceased to be of natural occurrence. He was encouraged by the
+connoisseur, lay and cleric, who found his literature in antiquity,
+and then demanded classical forms in his art. The nude was arbitrarily
+employed: there was no biblical authority for a naked David, and
+Donatello was therefore among the first to err in this respect. The
+taste for this kind of thing sprang from humanism, and throve with
+hellenism, till a counter-reaction came suddenly in the sixteenth
+century. Michael Angelo was hotly attacked for his excessive study
+from the nude as prejudicial to morals.<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a> Ammanati wrote an abject
+apology to the Accademia del Disegno for the very frank nudity of his
+statues.<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a> Some of the work of Bandinelli and Bronzino had to be
+removed.<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span> What was a rational and healthy protest has survived in
+grotesque and ill-fitting drapery made of tin&#8212;very negation of
+propriety. Although needed for biblical imagery, the nude in Italy was
+always exotic; in Greece it was indigenous. From the time of Homer
+there had been a worship of physical perfection. The Pal&#230;stra, the
+cultivation of athletics in a nation of soldiers, the religions of the
+country, with its favourable atmosphere, climate, and stone, all
+combined to make the nude a normal aspect of human life. But it was
+not the sole inspiration of their art: in Sparta, where there was most
+nude there was least art; in Italy, when there was worst art there was
+most nude.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE29">
+<img src="images/image29.jpg" width="400" height="297" alt="Cantoria" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>CANTORIA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>IN OPERA DEL DUOMO, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Donatello and Childhood.</div>
+
+<p>Michael Angelo strove to attain the universal form. His world was
+peopled with Titans, and he realised his ambition of portraying
+generic humanity: not, indeed, by making conventional, but by
+eliminating everything that was not typical. The earliest plastic art
+took clay and moulded the human form; the next achievement was to make
+specific man&#8212;the portrait; lastly, to achieve what was universal&#8212;the
+type. The progress was from man, to man in particular, and ultimately
+to man in general. There was a final stage when the typical lost its
+type without reverting to the specific, to the portrait. The
+successors of Michael Angelo were among the most skilful craftsmen who
+ever existed; but their knowledge only bore the fruit of unreality.
+Donatello did not achieve the typical except in his children: it was
+only in children that Michael Angelo failed. He missed this supreme
+opportunity; those on the roof of<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span> the Sistine Chapel are solemn and
+grown old with care: children without childhood. With Donatello all is
+different. His greatness and title to fame largely rest upon his
+typical childhood: his sculpture bears eloquent witness to the closest
+observation of all its varying and changeful moods. Others have
+excelled in this or that interpretation of child-life: Greuze with his
+sentimentalism, the Dutch painters with their stolidity. In Velasquez
+every child is the scion of some Royal House, in Murillo they are all
+beggars. They are too often stupid in Michelozzo: in Andrea della
+Robbia they are always sweet and winsome; Pigalle's children know too
+much. Donatello alone grasped the whole psychology. He watched the
+coming generation, and foresaw all that it might portend: tragedy and
+comedy, labour and sorrow, work and play&#8212;plenty of play; and every
+problem of life is reflected and made younger by his chisel. How far
+the sculptors of the fifteenth century employed classical ideas is not
+easily determined. There was, however, one classical form which was
+widely used, namely, the flying <i>putti</i> holding a wreath or
+coat-of-arms between them: we find it on the frieze of the St. Louis
+niche, and it is repeated on Judith's dress. The wreath or garland, of
+which the Greeks were so fond, became a favourite motive for the
+Renaissance mantelpiece. The classical <i>amoretti</i>, of which many
+versions in bronze existed, were also frequently copied. But there was
+one radical difference between the children of antiquity and those of
+the Renaissance. Though children were introduced on to classical
+sarcophagi and so forth, it is impossible to say that it was for the
+sake of their youth. There are genii in plenty; and in the imps which
+swarm over the<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span> emblematic figure of the Nile in the Vatican the
+sculptor shows no love or respect for childhood. There is no child on
+the Parthenon frieze, excepting a Cupid, who has really no claim to be
+reckoned as such. Donatello could not have made a relief 150 yards
+long without introducing children, whether their presence were
+justified or not. He would probably have overcrowded the composition
+with their young forms. Whether right or wrong, he uses them
+arbitrarily, as simple specimens of pure joyous childhood. Antique
+sculpture, too, had its arbitrary and conventional adjuncts&#8212;the Satyr
+and the Bacchic attendants; but how dreary that the vacant spaces in a
+relief should have to rely upon what is half-human or offensive&#8212;the
+avowedly inhuman gargoyles of the thirteenth century are infinitely to
+be preferred. Donatello was possessed by the sheer love of childhood:
+with him they are boys, <i>fanciulli ignudi</i>,<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a> very human boys,
+which, though winged and stationed on a font, were boys first and
+angels afterwards. And he overcame the immense technical difficulties
+which childhood presents. The model is restive and the form is
+immature, the softness of nature has to be rendered in the hardest
+material. The lines are inconsequent, and the limbs do not yet show
+the muscles on which plastic art can usually depend. Nothing requires
+more deftness than to give elasticity to a form which has no external
+sign of vigour. So many sculptors failed to master this initial
+difficulty&#8212;Verrocchio, for instance. He made the bronze fountain in
+the Palazzo Pubblico, and an equally fine statue of similar dimensions
+now belonging to M. Gustave Dreyfus. Both have vivacity and move<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>ment,
+but both have also a fat stubby appearance; the flesh has the
+consistency of pudding, and though soft and velvety in surface is
+without the inner meaning of the children on the Cantoria. In this
+work, where Donatello has carved some three dozen children, we have a
+series of instantaneous photographs. Nobody else had enough knowledge
+or courage to make rigid bars of children's legs: here they swing on
+pivots from the hip-joint. It is the true picture of life, rendered
+with superlative skill and <i>bravura</i>. But Donatello's children serve a
+purpose, if only that of decoration. At Padua they form a little
+orchestra to accompany the duets. The singing angels there are among
+the most charming of the company; and whether intentionally or not,
+they give the impression of having forgotten the time, or of being a
+little puzzled by the music-book! But Donatello fails to express the
+exquisite modulation by which Luca della Robbia almost gives actual
+sound to his Cantoria: where one sees the swelling throat, the
+inflated lungs, the effort of the higher notes, and the voice falling
+to reach those which are deep. Luca's children, it is true, are bigger
+and older; but in this respect he was unsurpassed, even by painters
+whose medium should have placed them beyond rivalry in such a respect.
+The choir of Piero della Francesca's Nativity is so well contrived
+that one can distinguish the alto from the tenor; but Luca was able to
+do even more. He gives cadence, rhythm and expression where others did
+no more than represent the voice. Donatello's dancing children are
+more important than his musicians. He was able to give free vein to
+his fancy. We have flights of uncontrollable children, romping and
+rioting, dashing to and fro, playing and laughing as they pass about
+garlands<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span> among them. And their self-reliance is worth noticing;
+they are absorbed in their dance&#8212;children dance rather heavily&#8212;and
+only a few of them look outwards. There is no self-consciousness, no
+appeal to the spectator: they are immensely busy, and enjoy life to
+the full. Then we have a more demure type of childhood: they are
+shield-bearers on the Gattamelata monument, or occupy an analogous
+position on the lower part of the Cantoria. Others hold the cartel or
+epitaph as on the Coscia tomb. And again Donatello introduces children
+as pure decoration. The triangular base of the Judith, for instance,
+and the bronze capital which supports the Prato pulpit, have childhood
+for their sole motive. He smuggles children on to the croziers of St.
+Louis and Bishop Pecci: they are the supporters of Gattamelata's
+saddle: they decorate the vestments of San Daniele. They share the
+tragedy of the Piet&#224;, and we have them in his reliefs. The entire
+frieze of the pulpits of San Lorenzo is simply one long row of
+children&#8212;some two hundred in all.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE30">
+<img src="images/image30.jpg" width="400" height="294" alt="Cantoria (Detail)" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>CANTORIA (DETAIL)</b></p>
+
+<p style="text-align: center"><span class="caption"><b>FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Cantoria.</div>
+
+<p>The Cantoria, or organ-loft, of the Florentine Cathedral was ordered
+soon after Donatello's return from Rome, and was erected about 1441.
+It was placed over one of the Sacristy doors, corresponding in
+position with Luca della Robbia's cantoria on the opposite side of the
+choir. The ill-fortune which dispersed the Paduan altar and
+Donatello's work for the fa&#231;ade likewise caused the removal of this
+gallery. Late in the seventeenth century a royal marriage was
+solemnised, for which an orchestra of unusual numbers was required,
+and the two <i>cantorie</i> were removed as inadequate. The large brackets<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
+remained <i>in situ</i> for some time, but were afterwards taken away also.
+The two galleries have now been re-erected at either end of the chief
+room of the Opera del Duomo. But the size of the galleries is
+considerable, and they occupy so much of the end walls to which they
+are fixed, that it is impossible to see the sides or outer panels of
+either cantoria. In the case of Luca's gallery, the side panels have
+been replaced by facsimiles, and the originals can be minutely
+examined, being only four or five feet from the ground, and very
+suggestive they are. As the side panels of Donatello's gallery are
+equally invisible in their present position they might also be brought
+down to the eye level. Comparison with Luca's work would then be still
+more simplified. But though in a trying light, and too low down, the
+sculpture shows that it was Donatello who gave the more careful
+attention to the conditions under which the work would be seen. The
+delicacy and grace of Luca's choir make Donatello's boys look coarse
+and rough-hewn. But in the dim Cathedral, where Donatello's children
+would appear bold and vivacious, the others would look insipid and
+weak. Moreover, the lower tier of Luca's panels beneath the projection
+and enclosed by the broad brackets, would have been in such a subdued
+light that some of the heads in low-relief would have been scarcely
+emphasised at all. In reconstructing Donatello's gallery an error has
+been made by which a long band of mosaic runs along the whole length
+of the relief, above the children's heads. M. Reymond has pointed out
+that the ground level should have been raised in order to prevent what
+Donatello would undoubtedly have avoided, namely, a blank and
+meaningless stretch of mosaic.<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a> M. Reymond's brilliant
+suggestion<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span> about a similar point in regard to the other cantoria, a
+criticism which has been verified in a remarkable manner, entitles his
+suggestion to great weight. The angles of the cantoria where the side
+panels join the main relief lack finish: something like the pilasters
+which cover the angles of the Judith base are required. As for the
+design, the gallery made by Luca della Robbia has an advantage over
+Donatello's in that the figures are not placed behind a row of
+columns. There is something tantalising in the fact that the most
+boisterous and roguish of all the troop is concealed by a pillar of
+spangled white and gold. These pillars were perhaps needed to break
+the long line of the relief: but they have no such significance, as,
+for instance, the row of pillars on the Saltarello tomb,<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a> behind
+which the Bishop's effigy lies&#8212;a barrier between the living and the
+dead, across which the attendant angels can drop the curtain.
+Donatello's gallery is, perhaps, over-decorated. There is less gilding
+now than formerly, and the complex ornament does not materially
+interfere with the broad features of the design: but a little more
+reserve would not have been amiss.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE31">
+<img src="images/image31.jpg" width="303" height="400" alt="The Prato Pulpit" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>THE PRATO PULPIT</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Prato Pulpit.</div>
+
+<p>The second work in which Donatello took his inspiration exclusively
+from childhood is at Prato. It is an external pulpit, fixed at the
+southern angle of the Cathedral fa&#231;ade, and employed to display the
+most famous relic possessed by the town, namely, the girdle of the
+Virgin. The first contract was made as early as 1428 with Donatello
+and Michelozzo, <i>industriosi maestri</i>, to whom careful measurements
+were given.<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a> The sculptors<span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span> promised to finish the work by
+September 1, 1429. Five years later, there was still no pulpit, and
+having vainly invoked the aid of Cosimo, they finally sent to Rome,
+where Donatello had by then gone, and a revised contract was made with
+the industrious sculptors, though Michelozzo is not mentioned by
+name.<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a> The work was finished in about four years, and within three
+weeks of signing the new contract one of the reliefs was completed; it
+may, of course, have been already begun. Its success was immediate.
+&quot;All say with one accord that never has such a work of art been seen
+before;&quot; and the writer of the entertaining letter from which this
+eulogy is quoted goes on to say that Donatello is of good disposition;
+that such men are not found every day, and that he had better be
+encouraged by a little money.<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a> The Prato pulpit has seven marble
+reliefs on mosaic grounds, separated by twin pilasters: there are
+thirty-two children in all.<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a> It is a most attractive work,
+cleverly placed against the decorous little Cathedral and not
+surrounded by sculpture of the first order with which to make
+invidious comparisons. But beside the cantoria it is almost
+insignificant. The Prato children dance too, but without the perennial
+spring; they have plenty of movement, but seem apt to stumble. They do
+not scamper along with the feverish enthusiasm of the other children:
+they must get very tired. Moreover, several of the panels are
+confused. They are, of course, crowded, for Donatello liked crowds,
+especially for his children; but his crowds were well marshalled and
+the individual figures which composed<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span> them were not allowed to
+suffer by their surroundings anatomically. The Prato children belong
+to a chubby and robust type. They have a tendency to short necks and
+unduly big heads which sink on to the torso. Michelozzo never grasped
+the spirit of childhood; those at Montepulciano were not a success,
+and he was largely responsible for the Prato Pulpit; it has been
+suggested that Simone Ferrucci also assisted. Certainly it would be
+Michelozzo's idea to divide the frieze into compartments, which
+interrupt the continuity of the relief and necessitate fourteen
+terminal points instead of four on the cantoria. We can also detect
+Michelozzo's hand in the rather stiff and professional details of the
+architecture. But he seems to have also executed some of the reliefs,
+even if the general idea from which he worked should have been
+Donatello's. Thus the panel most remote from the cathedral fa&#231;ade is
+involved in design and faulty in execution; and the children's
+expression is aimless and dull. But it must not be inferred that the
+Prato Pulpit is in any sense a failure, or even displeasing. Its
+popularity is thoroughly well deserved. The test of comparison with
+the cantoria is most searching, too severe indeed, for such a high
+standard could not be maintained. But if the <i>capo d'opera</i> of
+sculptured child-life be excluded, the Prato Pulpit will always retain
+a well-deserved popularity. Two further points should be noted. Below
+the pulpit is a bronze relief, shaped like the capital of a large
+column. There should be two of them, and it used to be believed that
+the second was destroyed in 1512 when the Spanish troops sacked the
+town. But the story is apocryphal, for the documents show that payment
+was only made for one relief, and that Michelozzo was entirely
+responsible for the<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span> casting. It is a most decorative panel, the
+motive being ribands and wreaths, among which there are eleven winged
+<i>putti</i> of different sizes. At the top of the capital is a big baby in
+high-relief peeping over the edge; an exquisite fancy reminding us of
+the two inquisitive children clambering over the heraldic shields on
+the Pecci monument. On the base of the capital are two other <i>putti</i>
+of equal charm, winged like the rest, and sedately looking outwards in
+either direction. The volutes of the bronze are decorated with other
+figures, less boyish and almost suggesting the touch of Ghiberti, who,
+it may be remarked, was appointed assessor of the contract by the
+Wardens of the Girdle. Finally, one may inquire what Donatello's
+motive can have been in designing the frieze: what may be the relation
+of the sculpture to the precious Girdle. No conclusive answer can be
+given. In the organ-loft of Luca della Robbia the object was to show
+praise of the Lord &quot;with all kinds of instruments&quot;<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a>: Donatello's
+was to &quot;let them praise his name in the dance.&quot;<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a> At Prato we have
+dance and music for no apparent reason, except perhaps as a display of
+joyfulness appropriate to the great festival of exhibiting the
+<i>Cingolo</i>. It is possible that the curious little reliquary in which
+the Girdle is actually preserved may supply the clue to some legend or
+tradition connected with the relic. This <i>cofanetto</i> was remodelled
+about this time, and the primitive motive and design may have been
+impaired. But we have a series of winged <i>putti</i> made of ivory, who
+dance and play about much as those on the pulpit, but amongst whom one
+can see scraps of rope, signifying the Girdle, from which they derive
+their incentive to joy and vivacity.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span></p>
+
+<p style="text-align: center"><a name="IMAGE32">
+<img src="images/image32.jpg" width="310" height="400" alt="Bronze Amorino" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>BRONZE AMORINO</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BARGELLO</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Other Children by Donatello.</div>
+
+<p>There are six <i>putti</i> above the Annunciation in Santa Croce. They are
+made of terra-cotta, while the rest of the work is in stone, and
+designed in such a way that the children are superfluous. They are,
+however, undoubtedly by Donatello, and may have been added as an
+afterthought. Two stand on either side of the curved tympanum,
+clinging to each other as they look downwards, and afraid of falling
+over the steep precipice. Their attitude is shy and timid, as Leonardo
+said was advisable when making little children standing still.<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a>
+Though unnecessary, their presence on the relief is justified by
+Donatello's skill and humour. In the great reliefs at Padua, Siena and
+Lille he introduces them without any specific object, though he
+contrives that they shall show fear or surprise in response to the
+incident portrayed. It is puzzling to know what the bronze boy in the
+Bargello should be called. Perseus, Mercury, Cupid, Allegory and
+Amorino have been suggested: he combines attributes of them all
+together with the budding tail of a faun, and the <i>gambali</i>, the
+buskin-trouser of the Tuscan peasant<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a>&#8212;&quot;<i>vestito in un certo modo
+bizzarro</i>&quot; as Vasari says. Cinelli thought it classical, and it
+resembles an undoubted antique in the Louvre. Donatello has clearly
+taken classical motives; the winged feet and the serpents twining
+between them are not Renaissance in form or idea. But the statue
+itself is closely akin to the Cantoria children, but being in bronze
+shows a higher polish, and, moreover, is treated in a less summary
+fashion. It is a brilliant piece of bronze:<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span> colour, cast and
+chiselling are alike admirable, and there is a vibration in the
+movement as the saucy little fellow looks up laughing, having
+presumably just shot off an arrow; or possibly he has been twanging a
+wire drawn tightly between the fingers. It throws much light on the
+bronze boys at Padua made ten or fifteen years later. This Florentine
+boy shows how completely Donatello, perhaps with the assistance of a
+caster, could render his meaning in bronze. In two or three cases at
+Padua the work is clumsy and slipshod, showing how he allowed his
+assistants to take liberties which he would never have countenanced in
+work finished by his own hands. The Bargello has another Amorino of
+bronze, a nude winged boy standing on a cockleshell, and just about to
+fly away; quite a pleasing statuette, and executed with skill except
+as regards the extremities of the fingers, where the bronze has
+failed. It resembles Donatello's <i>putti</i> who play and dance on the
+corners of the tabernacle of Quercia's font at Siena; but the base of
+this figure differs from that of the other four. A fifth of the
+Sienese <i>putti</i> was recently bought in London for the Berlin Gallery,
+an invaluable acquisition to that growing collection.<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a> This group,
+however, is less important than the wonderful pair of bronze <i>putti</i>
+belonging to Madame Andr&#233;.<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> These are much larger: they carry
+candle-sockets and are lightly draped with a few ribands and garlands:
+judging from the way they are huddled up, it is possible that they
+formed part of a larger work. They appear to be a good deal later than
+the Cantoria,<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span> though they do not show any technical superiority to
+the large Bargello Amorino; but they have not quite got that freshness
+which cannot be dissociated from work made between 1433 and 1440.
+Madame Andr&#233; has another superb Donatello&#8212;a marble boy: his attitude
+is unbecoming, but the modelling of this admirable statue&#8212;the urchin
+is nearly life-sized&#8212;is almost unequalled. There is a similar figure
+in the Louvre made by some imitator. It need hardly be said that
+Donatello's children, especially the free-standing bronze statuettes,
+were widely copied. According to Vasari, Donatello designed the wooden
+<i>putti</i> carrying garlands in the new Sacristy of the Duomo. There are
+fourteen of these boys, and they overstep the cornice like
+Michelozzo's angels in the Capella Portinari at Milan. Donatello may
+have given the sketch for one or two, but there is a lack of
+intelligence about them, besides a certain monotony. Moreover, it is
+improbable that Donatello would have designed garlands so bulky that
+they threaten to push the little boys who carry them off the cornice.
+In spite of its faults, this frieze is charming. The <i>na&#239;vet&#233;</i> of the
+quattrocento often invests its errors with attraction. It would be
+wearisome to catalogue the scores of bronze children which show
+undoubted imitation of Donatello. They exist in every great
+collection, one of exceptional merit being in London.<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a> A large
+school sprang into existence, chiefly in Padua and Venice, whence it
+spread all over Northern Italy, and produced any number of bronze
+works which recall one or other feature of Donatello's children. But
+they never approached Donatello. Their work was a sort of
+<i>minuteria</i><span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>&#8212;table ornaments, plaquettes, inkstands, and the ordinary
+decoration of a sitting-room. Monumental childhood almost ceased to
+exist in Italian plastic art, and, after Michael Angelo, degenerated
+into stout and prosperous children lolling in clouds and diving among
+the draperies which adorned the later altars and tombs. Their didactic
+value was soon lost to Italian sculpture, and with it went their
+inherent grace and significance. Donatello was among the first as he
+was among the last seriously to apply to sculpture the words <i>ex ore
+infantium perfecisti laudem</i>.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE33">
+<img src="images/image33.jpg" width="309" height="400" alt="San Giovannino" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SAN GIOVANNINO</b></p>
+
+<p style="text-align: center"><span class="caption"><b>FAENZA MUSEUM</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Boys' Busts.</div>
+
+<p>It is inexplicable that modern criticism should withdraw from
+Donatello all the free-standing or portrait-busts of boys, while going
+to the opposite extreme in ascribing to him an enormous number of
+Madonnas. We know that Donatello was passionately fond of carving
+children on his reliefs: we also know that only two versions of the
+Madonna can be really authenticated as his work. Why should Donatello
+have made no busts of boys when it is not denied that he was
+responsible for something like one hundred boys in full-length; and
+how does it come about that scores of Madonnas should be attributed to
+him when we only have the record of a few? There can be no doubt that
+Donatello would not have rested content with children in relief or in
+miniature. The very preparation of his numerous works in this category
+must have led him to make busts as well, quite apart from his own
+inclinations. The stylistic method of argument should not be abused:
+if driven to a strict and logical conclusion it becomes misleading. It
+ignores the human element in the artist. It pays no attention to his
+desire to vary the nature of his<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span> work or to make experiments. It
+eliminates the likelihood of forms which differ from the customary
+type, and it makes no allowance for possibilities or probabilities,
+least of all for mistakes. It is purely on stylistic grounds that each
+bust connected with Donatello's name has been withdrawn from the list
+of his works. A fashion had grown up to ascribe to Donatello all that
+delightful group of marble busts now scattered over Europe. Numbers
+were obviously the work of competent but later men: Rossellino,
+Desiderio, Mino da Fiesole, and so forth. There remain others which
+are more doubtful, but which in one detail or another are alleged to
+be un-Donatellesque, and have therefore been fearlessly attributed to
+other sculptors from whose authenticated work they often dissent.
+That, however, was immaterial, the primary object being to disinherit
+Donatello without much thought as to his lawful successor in title. A
+critical discrimination between these busts was an admitted need;
+everything of the kind had been conventionally ascribed to Donatello
+just as Luca della Robbia was held responsible for every bit of glazed
+terra-cotta. These ascriptions to the most fashionable and lucrative
+names had become conventional, and had to be destroyed. Invaluable
+service has been rendered by reducing the number given to Donatello
+and adding to the number properly ascribed to others. But the process
+has gone too far. The difficulties are, of course, great, and
+stylistic data offer the only starting-point; but as these data are
+readily found by comparison with Donatello's accepted work, it ought
+to be possible, on the fair and natural assumption that Donatello may
+well have made such busts, to determine the authenticity of a certain
+proportion. In any case, it would be less difficult to prove that
+Donatello did, than that he did not<span class="pagenum"><a name="Page_118" id="Page_118">[Pg 118]</a></span> make statues of this description.
+Among the busts of very young boys which cannot be assigned to
+Donatello are those belonging to Herr Benda in Vienna, and to M.G.
+Dreyfus in Paris. Nothing can exceed their softness and delicacy of
+modelling, and they are among the most winning statuettes in the
+world. They were frequently copied by Desiderio and his <i>entourage</i>.
+One of the little heads in the Vanchettoni Chapel at Florence is
+likewise animated by a similar exemplar. There is something girlish
+about them, a pursuit of prettiness which is no doubt the source of
+their singular attraction, and which invests them with an irresistible
+charm. The San Giovannino, also in the Vanchettoni, is a more concrete
+version of childhood, but is by the same hand as its fellow. These
+four busts fail to characterise the child's head; not indeed that
+characterisation was needed to make an enchanting work, but that
+Donatello's children elsewhere show more of the individual touches of
+the master and personal notes of the child. The Duke of Westminster
+possesses a life-sized head of a boy,<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a> which is palpably by
+Donatello, though no document exists to prove it. We have all the
+essentials of Donatello's modelling; the handling is uncompromising
+and firm; the child is treated more like a portrait. Indeed, many of
+these children's busts, even when symbolised by St. John's rough
+tunic, were avowed portraits&#8212;the Martelli San Giovannino, for
+instance, which from Vasari's time has been ascribed, and probably
+with justice, to Donatello. This little head enjoys a reputation which
+it scarcely deserves. The expression is dull, the hair grows so low
+that scarcely any forehead is visible; the cheeks bulge out,<span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span> and
+the mouth is too small. We have, in fact, a lifelike presentment of
+some boy, perhaps of the Martelli family, showing him at his least
+prepossessing moment, when the bloom of childhood has passed away, and
+before the lines have been fined down and merged into the stronger
+contours of youth. Desiderio would have improved Nature by modifying
+the boy's features, and we should have had a work comparable to those
+previously mentioned. But Donatello (and perhaps his patrons)
+preferred a less idealised version. The Martelli figure, and a most
+important boy's bust belonging to Frau Hainauer in Berlin, are now
+usually ascribed to Rossellino. But his St. John in the Bargello,
+where all the features are softened down, and his authenticated work
+in San Miniato and elsewhere, make the attribution open to question.
+The St. John at Faenza is also denied to be by Donatello; one of the
+critics who is quite certain on the point believes the bust to be made
+of wood! These problems cannot be settled by spending ten <i>lire</i> on
+photographs. The bust at Faenza,<a name="FNanchor_156_156" id="FNanchor_156_156"></a><a href="#Footnote_156_156" class="fnanchor">[156]</a> though a faithful portrait, is
+one of the most romantic specimens of childhood depicted by Donatello.
+Admirably modelled, and with a surface like ivory, it gives the
+intimate characteristics of the model. Nothing has been embellished or
+suppressed, if we may judge from the absolute sequence and
+correspondence of all the features. The flat head, the projecting
+mouth, and the much-curved nose, are sure signs of accurate and
+painstaking observation; they combine to give it a personal note which
+adds much to its abstract merits. The<span class="pagenum"><a name="Page_120" id="Page_120">[Pg 120]</a></span> St. John in the Louvre<a name="FNanchor_157_157" id="FNanchor_157_157"></a><a href="#Footnote_157_157" class="fnanchor">[157]</a> is
+also a portrait, but of an older boy, in whom the first signs of
+maturity are faintly indicated: lines on the forehead, a stronger
+neck, and a harder accentuation of nose and mouth. But he is still a
+boy, though he will soon go forth into the wilderness. By the side of
+the Faenza Giovannino he would appear rough; beside the Vienna and
+Dreyfus statuettes he would be harsh and unsympathetic. He has no
+smiling countenance, no fascinating twinkle of the eye: the type has
+not been generalised as in Desiderio's work, and it therefore lacks
+those qualities, the very absence of which makes it most
+Donatellesque. The fundamental distinction between Donatello and the
+later masters can be emphasised by comparing this bust with another
+group of terra-cotta heads, which are analogous, although the boy in
+them is older. One in the Berlin Gallery<a name="FNanchor_158_158" id="FNanchor_158_158"></a><a href="#Footnote_158_158" class="fnanchor">[158]</a> has been painted, and no
+final judgment can be passed until the more recent accretions of
+oil-colour have been removed. But the whole conception is weakly and
+vapid. The brown eyes, the nicely rouged cheeks, the mincing look, and
+the affectation of the pose make a genteel page-boy of him, and all
+suggest a later imitation&#8212;about 1470 perhaps&#8212;and contemporary with
+the somewhat analogous though better rendering in the Louvre.<a name="FNanchor_159_159" id="FNanchor_159_159"></a><a href="#Footnote_159_159" class="fnanchor">[159]</a> The
+version belonging to M. Dreyfus differs in certain details from the
+Berlin bust, and it has been fortunate in escaping careless painting;
+it has more vigour and virility. One remark may be made about the
+Faenza, Grosvenor House, Martelli, Hainauer and Louvre busts: they all
+show a peculiarity in the treatment of the hair.<span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span> It is bunched
+together and drawn back from behind the ears, and is gathered on the
+nape of the neck, down which it seems to curl. This is precisely the
+treatment observed in the Mandorla relief, the Martelli David, the
+young Gattamelata, and the Amorino in the Bargello: in a lesser degree
+it is observable in the Isaac and the Siena Virtues. The point is not
+one upon which stress could properly be laid, but it is a further
+point of contact between Donatello's accepted work and some few out of
+the numerous boys' busts which he must inevitably have made.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE34">
+<img src="images/image34.jpg" width="307" height="400" alt="Niccolò da Uzzano" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>NICCOL&#210; DA UZZANO</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BARGELLO, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Niccol&#242; da Uzzano and Polychromacy.</div>
+
+<p>The bust of Niccol&#242; da Uzzano has gained its widespread popularity
+from its least genuine feature&#8212;namely, the paint with which it is
+disfigured. The daubs of colour give it a fictitious importance, an
+actual realism which invests it with the illusion of living flesh and
+blood. This is all the more unfortunate, as the bust is a remarkable
+work, and does not gain by being made into a &quot;speaking likeness.&quot; Its
+merits can best be appreciated in a cast, where the form is reproduced
+without the dubious embellishments of later times. Niccol&#242; was a
+high-minded patrician, an implacable opponent of the Medici, and a
+warm friend of higher education: it is also of interest that he should
+have been an executor of the will of John XXIII. He was born in 1359,
+and died in 1432. The bust is made of terra-cotta, and shows a man of
+sixty-five or so, and would therefore be coeval with the later
+Campanile prophets (but nothing beyond old tradition can be accepted
+as authority for the nomenclature). The modelling of the head is quite
+masterly. Niccol&#242; is looking rather to<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span> the left; his keen and
+hawklike countenance, and his piercing eyes, deep set and quivering
+within pendulous eyelids, give a sense of invincible logic and
+penetration. The laconic, matter-of-fact mouth, and the resolute jaw
+add strength and courage to the physiognomy: the nose and its
+disdainful nostrils are those of the haughty optimate. The head is,
+however, less fine than the face: a skull of rather common
+proportions, and a sloping though broad forehead are its marked
+features. Donatello has given him an ugly ear; Niccol&#242;'s ear was,
+therefore, ugly, and the throat is swollen. The shoulders are covered
+with a thick piece of drapery, leaving the throat and upper part of
+the breast bare. Such is the impression conveyed by Niccol&#242; in the
+cast. In the Bargello the colouring modifies what the form itself was
+meant to suggest. The smallest error of a paint-brush, the slightest
+deepening of a pigment, are quite sufficient to make radical
+alterations in the sentiment of a statue. When applied to plastic art,
+colour is potent enough to change the essential purpose of the
+sculptor. The chief reason why the terra-cotta bust of St. John at
+Berlin looks flippant and fastidious is, that the painter was
+indiscreet in drawing the eyebrows and lips: owing to his
+carelessness, they do not coincide with the features indicated by the
+modeller, and the entire character of the boy is consequently changed.
+The question of polychromacy in Donatello's sculpture is of great
+importance, and requires some notice. It is no longer denied that
+classical statues were frequently coloured. The Parthenon frieze and
+many celebrated monuments of antiquity were picked out with colour.
+Others received some kind of polish, <i>circumlitio</i>,&#8212;like the dark
+varnish which is on the face of the Coscia effigy. Again, the use<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>
+of ivory, precious stones, and metal was common. The lips and eyeballs
+were frequently overlaid by thin slabs of silver.<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a> The origin of
+polychromacy, doubtless, dates back to the most remote ages. It was
+first needed to conceal imperfections, and to supply what the carver
+felt his inability to render. It connotes insufficiency in the form.
+The sculptor, of all people, ought to be able to see colour in the
+uncoloured stone: he ought to realise its warmth, texture and shades.
+Nobody has any right to complain that a statue is uncoloured: the
+substance and quality of the marble is in itself pleasing, but
+relative truth is all that is required in a portrait-bust. If one
+wants to know the colour of a man's eye, or the precise tint of his
+complexion, the painter's art should be invoked, but only where its
+gradations and subtleties can be fully rendered&#8212;on the canvas.
+Polychromacy is a mixture of two arts: it is one art trying to steal a
+march upon another art by producing illusion. That is why the
+pantaloon paints his face, and why the audience laughs: the spirit
+which tolerates painted statues ends by adorning them with necklaces.
+Donatello, whose sense of light and shade was acutely developed, least
+required the adventitious aid of colour. Polychromacy was to a certain
+extent justified on terra-cotta, to soften the toneless colour of the
+clay, and on wood it served a purpose in hiding the cracks of a
+brittle substance. Nowadays it is happily no more than a <i>refugium
+peccatorum</i>. There is, however, no doubt that in Donatello's day it
+was widely used, and used by Donatello himself. It began in actual
+need, then became a convention, and long survived: <i>il n'y a rien de
+plus respectable qu'un ancien abus</i>. During the fifteenth century<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+statues were coloured during the highest proficiency of sculpture:
+buildings were painted,<a name="FNanchor_161_161" id="FNanchor_161_161"></a><a href="#Footnote_161_161" class="fnanchor">[161]</a> and bronze was habitually gilded.
+Donatello's Coscia, and his work at Siena and Padua, still show signs
+of it. The St. Mark was coloured, and the Cantoria was much more
+brilliant with gold than it is now. The St. Luke, which was removed
+from Or San Michele,<a name="FNanchor_162_162" id="FNanchor_162_162"></a><a href="#Footnote_162_162" class="fnanchor">[162]</a> has long been protected from the weather,
+and still shows traces of a rich brocade decorated with coloured
+lines. The Christ of Piero Tedesco on the fa&#231;ade of the Cathedral had
+glass eyes. Roland and Oliver, two wonderful creations on the fa&#231;ade
+of the Cathedral at Verona, had blue enamel eyes. The Apostles in the
+Church of San Zeno, in the same city, are exceptionally interesting,
+being one of the rare cases where the genuine colouring is visible,
+although it has been much worn. The early colourists used
+tempera;<a name="FNanchor_163_163" id="FNanchor_163_163"></a><a href="#Footnote_163_163" class="fnanchor">[163]</a> as this perished, oil paint was substituted, and there
+are very few painted statues extant on which restoration has never
+taken place, and consequently where the original colour of the
+sculptor is intact. With repainting, the original artist disappears:
+even if the work is cast, the delicate tints of the first colouring
+must be impaired, and repainting follows. Thus the Niccol&#242; da Uzzano
+is covered with inferior oil colour, and only in a few details can the
+primitive tempera be detected. The later addition creates the
+fictitious interest, and immensely reduces the real importance of this
+masterly production.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span></p>
+
+<div class="sidenote">Portrait-busts.</div>
+
+<p>It is a singular fact admitting of no ready explanation that
+portrait-busts, so common in Tuscany, should scarcely have existed in
+Venice. Florence was their native home. From the time of Donatello
+every sculptor of note was responsible for one or more, while certain
+artists made it a regular occupation. Luca della Robbia, however, one
+of the most consummate sculptors of his day, made no portrait except
+the effigy of Bishop Federighi. There are one or two small heads in
+the Bargello, but they scarcely come within the category of studied
+portraits, while the heads on the bronze doors of the Duomo, though
+modelled from living people, are small and purely decorative in
+purpose. Glazed terra-cotta was a material so admirably adapted to
+showing the refinements of feature and character, as we can see in
+both Luca's and Andrea's work, that this absence is all the more
+surprising. At the same time, numerous as portrait-statues were in
+Tuscany, they do not compare in numbers with those executed in
+classical times. In the fifteenth century the statue was a work of
+art, and its actual carving was an integral part of the art: so the
+replica in sculpture was rare. But under the Roman Empire statues of
+the same man were erected in scores and hundreds in the same city;
+their multiplication became a profession in itself, and a large class
+of artisans must have grown up, eternally copying and recopying
+portrait-busts and giving them the haunting dulness of mechanical
+reproductions. The artist himself was more interested in the torso
+than the head; some artists came to be regarded as specialists in
+their own lines; Calcosthenes for instance, who made athletes, and
+Apollodorus, who made philosophers. Donatello made several
+portrait-busts, and two or three others, such<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span> as the head of St.
+Laurence, and the so-called St. Cecilia in London, which are portraits
+in all essentials. These two are idealised heads, both made late in
+life, judging from a certain sketchiness, in no way detracting from
+their sterling qualities, but indicative of Donatello's fluency as an
+oldish man. Both are in terra-cotta. The St. Laurence is placed on the
+top of one of the great chests in the Sacristy of San Lorenzo, too
+high above the eye-level.<a name="FNanchor_164_164" id="FNanchor_164_164"></a><a href="#Footnote_164_164" class="fnanchor">[164]</a> It has no connection with the
+decorative work carried out there by the master, and it is difficult
+to see how it could have been meant to fit in with the altar. However,
+the authorship of Donatello is beyond question. St. Laurence is almost
+a boy, wearing his deacon's vestments. His head is raised up as if he
+had just heard something and were about to reply. The eager and
+inquiring look is most happily shown. The sentiment of this bust is
+quite out of the common; it has an engaging expression which is rare
+in the sculpture of all ages, differing from what is called animation
+or vivacity. These also may be found in the St. Laurence, where the
+exact but indescribable movement of the face as he is about to speak
+is rendered with immense skill. The bust, though modelled with a free
+hand, is not carelessly executed; everything is in concord, and the
+treatment of the clay shows exceptional dexterity, more so, at any
+rate, than is the case in the St. Cecilia.<a name="FNanchor_165_165" id="FNanchor_165_165"></a><a href="#Footnote_165_165" class="fnanchor">[165]</a> The name given to this
+bust is traditional, there being no symbol to connect it with her; but
+it suggests at least that the work was not meant purely as a portrait.
+In<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span> technique and conception it is not quite equal to the St.
+Laurence, but it is none the less a work of rare merit, and being
+Donatello's only clay portrait in this country has a special value to
+us. The Saint looks downwards, pensive, quiet and modest, the
+embodiment of tranquillity and calm. There is no movement or effort
+about her, neither does the work show any effort on the part of the
+sculptor. It is equable in a very marked degree; the smooth regular
+features are simple and well defined, and the hair, brushed back from
+the forehead, has a softness which could scarcely be obtained in
+marble. The bust known as Louis III. of Gonzaga is interesting in
+another way: it is bronze and has been left in an unfinished state.
+Two versions of it exist&#8212;one in Berlin, the other in Paris, belonging
+to Madame Andr&#233;, the latter being perhaps the less ugly of the two. It
+used to be known as Alfonso of Naples, on the assumption that
+Donatello must surely have made a bust of that prince. This theory,
+however, had to be abandoned, and it is now held to be a portrait of
+the Gonzaga as being a closer resemblance to him than to Alfonso, or
+Giovanni Tornabuoni. Mantegna's portrait of Gonzaga, though made
+later, shows a rather different type, less displeasing than the
+bronze. In the bust we have what is probably the portrait of a coarse
+and clumsy person; he is petulant in the mouth, weak in the chin,
+gross in the thick and heavy jaw. The bronze is extremely rough, and
+shows no signs of the nervous and individual touches which we find in
+Donatello's terra-cotta. Both the busts are unfinished; in the absence
+of chasing and hammering they are covered with bubbles and splotches
+of metal. They have, therefore, not passed through the hands of
+assistants, except so far as the actual casting of the<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span> bronze was
+concerned. During the process of casting the refinements of a clay
+model would often be impaired, but this shows no sign of having been
+made from an original of merit. The man is ugly, it is true; but the
+broad expanse of his lifeless cheek and the bulbous forehead would in
+real life have been explained and justified by bone and muscle, which
+the sculptor would have rendered in his clay study. The ugliness of
+the man, however, is unrelated to the qualities of the bust. Nobody
+could make the likeness of an ugly man better than Donatello; and
+since the faults of this portrait lie more in the modelling than in
+the sitter, one is driven to conclude that the bust must be entirely
+the work of an assistant, or else a failure of the master.</p>
+
+<p>An effective counterpart to this bust exists in Berlin. It is also a
+life-sized bronze of an older man, and in many ways the likeness to
+the Gonzaga bust is notable. But wherever Gonzaga's features lack
+distinction this portrait shows fine qualities and good breeding.
+Nothing could better illustrate how minute are the plastic details
+which will revolutionise a countenance; how easily noble and handsome
+features can degenerate into what is sordid and vulgar. In this bust
+the chin, though receding, is far from weak; the lips are full but not
+sensual; the nose has the faint aquiline curve of distinction. There
+is benevolence in the eyes, meditation in the brow, dignity and
+reserve throughout the physiognomy: it is the portrait of a man who
+may be great, but who must be good. When a bronze <i>abozzo</i> has to be
+finished the detail is added by hammering the metal, or incising it
+with gravers. Thus the bronze has to be reduced, it being seldom
+possible to enlarge it at any point. But the Gonzaga bust would
+require to be<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span> enlarged in several places to make it a lifelike head.
+In the case of the portrait just described, the metal was cast from a
+rough sketch which, in the first place, had the qualities of a living
+and consistent head, and which, in the second place, was modelled with
+sufficient amplitude to permit the entire head to be hammered, and the
+exquisite details to be added. Technically this head is almost
+unequalled among Donatello's bronze portraits; it is quite superb.
+Comparison with the Gattamelata at Padua is fair to neither. But it
+can be suitably compared with the bronze portrait in the Bargello
+generally known as the Young Gattamelata. The tomb of Giovanni
+Antonio, son of the famous Condottiere, is in the Santo at Padua. The
+effigy resembles this bust. Giovanni died young in 1456, and on the
+whole there is sufficient reason for considering it to be his
+portrait. On this assumption the bust can be dated about 1455. It is a
+happy combination of youth and maturity. On the one side we have the
+smooth features, still unmarked by frowns and furrows, the soft
+youthful texture of the skin, and something young in the thick curly
+hair. On the other hand, the character of the face shows perfect
+self-confidence in its best sense, as well as self-control and
+determination. A scrap of drapery covers the outer edge of either
+shoulder, and round his neck is a riband, at the end of which hangs a
+large oval gem, Cupid in a chariot making his horses gallop. Thus the
+throat and breast are bare, and show exceptionally good rendering of
+those thin bones and thick tendons which must always be a severe test
+to the modeller. As for the bronze itself, the surface is wrought with
+much care and finish, though the Berlin bust is unapproached in this
+respect. A few other portrait-busts remain to be noticed, which at
+one<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span> time or another have been attributed to Donatello. The Vecchio
+Barbuto, a thoroughly poor piece of work, and the Imperatore
+Romano<a name="FNanchor_166_166" id="FNanchor_166_166"></a><a href="#Footnote_166_166" class="fnanchor">[166]</a> with its sadly disjointed and inconsequential appearance,
+are works which scarcely recall the touch of Donatello. The bust of a
+veiled lady is more interesting.<a name="FNanchor_167_167" id="FNanchor_167_167"></a><a href="#Footnote_167_167" class="fnanchor">[167]</a> In the old Medici catalogue it
+used to be called <i>Donna velata incognita</i>, or <i>sacerdotessa velata</i>:
+and it was also called Annalena Malatesta: a suggestion has been
+recently made that it represents the Contessina de' Bardi, who married
+Cosimo de' Medici. Vasari certainly mentions a bronze bust of the
+Contessina by Donatello; but the family records would scarcely have
+called so important a person a nun or an <i>incognita</i>: moreover, she
+did not die till 1473, and as this bust is obviously made from a
+death-mask, it is clear that Donatello could not be its author. The
+custom of making death-masks is described by Polybius: in Donatello's
+time it became very popular, and Verrocchio became one of the foremost
+men in this branch of trade, which combined expedition and accuracy
+with cheapness. The wax models were coloured and used as chimney-piece
+decorations, <i>in ogni casa di Firenze</i>. The bronze bust of San Rossore
+in the Church of Santo Stefano at Pisa has been attributed to
+Donatello. From the <i>denunzia</i> of 1427 we know that Donatello was
+occupied on a bust of the saint, and certain payments are
+recorded.<a name="FNanchor_168_168" id="FNanchor_168_168"></a><a href="#Footnote_168_168" class="fnanchor">[168]</a> But beyond this fact there is no reason for assigning
+the Pisa bust to him. No explanation is offered of its removal from
+Florence to Pisa, and had we not known that Donatello made such a
+bust, this uncouth and slovenly thing would never have been ascribed
+to him. It is a reliquary, the<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span> crown of the head being detachable,
+and the head can also be separated from the bust. It is heavily gilded
+and minutely chased with the trivial work of some meagre craftsman;
+the eyes seem to have been enamelled. It is merely interesting as a
+school-piece. Speaking generally, Donatello's portraits are less
+important as busts than when they are portions of complete statues.
+Excluding Niccol&#242; da Uzzano and the old man at Berlin, the heads he
+made cannot compare with the portraits of John XXIII., Brancacci,
+Habbakuk and St. Francis at Padua. Donatello helped to lay the
+foundations of the tremendous school of portraiture which flourished
+after his death, both in sculpture and painting; based, in certain
+parts of Italy, on the principles he had laid down, though thriving
+elsewhere upon independent lines; such, for instance, as the
+remarkable group of portraits ascribed to Laurana or Gagini. But at
+his best Donatello rarely approached the comprehensive powers of
+Michael Angelo. With the latter we see the whole corpus or entity made
+the vehicle of portraiture; everything is forced to combine, and to
+concentrate the <span lang="el" title="Greek: êthos">&#951;&#952;&#959;&#962;</span> of the conception; everything is driven
+into harmony. Michael Angelo gives a portrait which is also typical,
+while preserving the real. Donatello seldom got beyond the real; but
+he went far towards realising the highest forms of portraiture, and
+two or three of his works, though differing in standard from the
+Brutus or the Penseroso, surpass anything achieved by his
+contemporaries.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">Relief-portraits.</div>
+
+<p>A few portraits in relief require a word of notice. As a rule they are
+later in date, though they are often given to Donatello. It became
+fashionable to have<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span> one's portrait made as a Roman celebrity: an
+Antonine for instance; a Galba or a Faustina; or as some statesman,
+like Scipio or C&#230;sar. Donatello was not responsible for these
+portraits, though several have been attributed to him. But he made one
+or two such reliefs, such as the little St. John in the Bargello which
+has already been described. The oval-topped portrait in the same
+collection, made of pietra serena&#8212;a clean-shaved man with longish
+hair and an aquiline nose, is wrongly ascribed to Donatello. There is
+a much more interesting portrait, two copies of which exist; one is in
+London, the other in Milan.<a name="FNanchor_169_169" id="FNanchor_169_169"></a><a href="#Footnote_169_169" class="fnanchor">[169]</a> It is a relief-portrait of a woman in
+profile to the right; her neck and breast are bare, treated similarly
+to the magnificent bust in the Bargello (177). The two reliefs, of
+which the Milan copy is oval, while ours is rectangular with a
+circular top, are modelled with brilliant and exquisite <i>morbidezza</i>:
+the undercutting is square, so that the shadows assert themselves; the
+wavy hair is brushed back and retained by a fillet, leaving the neck
+and temples quite free. In many ways it is the marble version of those
+portraits attributed to Piero della Francesca in the National
+Gallery<a name="FNanchor_170_170" id="FNanchor_170_170"></a><a href="#Footnote_170_170" class="fnanchor">[170]</a> and elsewhere, but treated so that while the painting is
+curious the marble is beautiful. These reliefs cannot be traced to
+Donatello, though they show his style and influence in several
+particulars. Madame Andr&#233; has a marble relief of an open-mouthed boy
+crowned with laurels, and with ribands waving behind. It is very close
+to the Piot St. John in the Louvre, and analogous in some respects to
+two other reliefs of great interest, both in Paris, belonging
+respectively to La Marquise Arconati-<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>Visconti and to M. Gustave
+Dreyfus. These are marble reliefs of St. John and Christ facing each
+other, exquisite in their childhood. The former is round, the latter
+square. It is usual to ascribe them to Desiderio, and there are
+details which lead one to agree on the point. They show, however, that
+Donatello's influence was strong enough to survive his death in
+particulars which later men might well have ignored. And the two
+reliefs combine the strength of Donatello with the sweetness of
+Desiderio.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">San Lorenzo.</div>
+
+<p>Donatello must have completed the most important decorative work in
+the Sacristy of San Lorenzo by 1443. Brunellesco was the architect,
+and there were differences between them as to their respective spheres
+of work. Donatello made the bronze doors, a pair of large reliefs,
+four large circular medallions of the Evangelists, as well as four
+others of scenes from the life of St. John the Evangelist. Excluding
+the doors, everything is made of terra-cotta. The reliefs over the
+inner doors of the Sacristy represent St. Stephen and St. Laurence on
+one side, and St. Cosmo and St. Damian on the other. They are nearly
+life size, modelled in rather low-relief upon panels with circular
+tops, and of exceptional size for works in terra-cotta. The reliefs
+are enclosed in Donatello's framework of latish Renaissance design,
+but the figures themselves are very simple. There is a minimum of
+ornament, and they harmonise with the remarkable scheme of the bronze
+doors below them, with which they have so many points in common. The
+ceiling of the chapel has been repeatedly whitewashed, and the eight
+medallions are consequently blurred in surface and outline. It is a
+real misfortune, for,<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span> so far as one can judge, they contain
+compositions and designs of great interest, by which a new light would
+probably be thrown upon several doubtful problems were it possible to
+study them with precision. Criticism must therefore be guarded, and
+their position is such as to make examination difficult. The Roundels
+of the Evangelists are modelled with boldness and severity, qualities
+which one is not surprised to find in Donatello, but which are here
+emphasised, for they stand out in spite of the coats of whitewash. In
+some ways they resemble the Evangelists of the Capella Pazzi. Here one
+notices a delicacy of decoration on the seats, desks, &amp;c., contrasting
+with the rugged grandeur of the figures themselves, and with the
+absence of ornament, which is so marked a feature of the other reliefs
+in the Sacristy. The four scenes from the life of St. John (Vasari
+says from the lives of the Evangelists) are even more interesting than
+the panels just mentioned. It appears from the few words Vasari
+devotes to the Sacristy that Donatello also painted views upon the
+ceiling, but no trace remains. The incidents depicted in the roundels
+are St. John's Apotheosis, Martyrdom, and Sojourn on Patmos, and the
+Raising of Drusiana. There are landscapes and architectural
+backgrounds; many figures are introduced, and there is a good deal of
+nude study. We also notice a feature of frequent occurrence&#8212;a trick
+of giving depth to the scene and vividness to the foreground, by
+letting figures be cut off short by the frames. Men seem to be
+standing on the spectator's side of the relief, and only appear at the
+point where they can be partly included in the composition. The field
+becomes one that would be included within the range of vision as seen
+through a round window or telescope. Mantegna made great use of this
+idea. The more<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span> one looks at these eight medallions the more one
+regrets their present condition: washing is all that is required. If
+they could be carefully cleaned we would certainly find details of
+interest, and in all probability facts of importance. The frieze of
+angels' heads which surrounds the Sacristy is of secondary interest,
+as there are only two different cherubs, which are reproduced by
+moulds all along its entire length. Signs of gilding and colour are
+still visible. Pretty as they are, these angels cannot challenge
+comparison with the Pazzi frieze or with Donatello's similar work
+elsewhere&#8212;for instance, on the base of the Cantoria or upon the Or
+San Michele niche. The marble balustrade of the altar may have been
+designed by Donatello. The Sacristy shows how well adapted terra-cotta
+was for decoration on a large scale. But Donatello was too wise to
+cover the walls with his reliefs, as is the case in the Capella
+Pellegrini at Verona. Here the sculpture is used to decorate the
+chapel walls, there the walls are merely used to uphold the sculpture.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE35">
+<img src="images/image35.jpg" width="301" height="400" alt="Bronze Doors" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>BRONZE DOORS</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SAN LORENZO, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Bronze Doors.</div>
+
+<p>There is no more instructive study than the bronze doors of Italian
+churches. They are the earliest specimens of bronze casting to be
+found in Italy of Christian times; they show the gradual transition
+from Eastern to Western forms of art, and they were usually made by
+the most prominent sculptor of the day. Their size is considerable,
+they are frequently dated, and their condition is often
+extraordinarily good. Donatello's are relatively small, but they
+adhere to the best traditions. Excluding the great doors made by Luca
+della Robbia for the Sacristy of the Duomo, these in San Lorenzo are<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
+among the latest which were produced according to the ancient model
+and the correct idea. Thenceforward the doors ceased to be doors; the
+reliefs ceased to show the qualities of bronze, and disregarded the
+principles of sculpture. Donatello made two pairs of doors, one on
+either side of the altar. The doors open in the middle; there are thus
+four long-hinged panels of bronze, and each panel has five reliefs
+upon it. It is doubtful if the most archaic doors in Italy show such
+uniformity of design, for all the twenty bronze reliefs illustrate one
+single theme, namely, the conversation of two standing men. The panels
+simply consist of two saints, roughly sketched in somewhat low-relief
+upon an absolutely flat background: there is great variety in the
+drapery, and some of the figures might come out of thirteenth-century
+illuminations. Never was a monotonous motive invested with such
+variety of treatment: never was simplicity better attained by
+scrupulous elimination. Donatello's symmetrical idea had been
+previously employed, and Torrigiano put his figures in couples on what
+Bacon called one of the &quot;stateliest and daintiest monuments of
+Europe.&quot;<a name="FNanchor_171_171" id="FNanchor_171_171"></a><a href="#Footnote_171_171" class="fnanchor">[171]</a> Luca della Robbia put his figures in threes on the
+Cathedral gates, a seated figure in the centre, with a standing figure
+on either side. But Donatello had to make twice as many panels as
+Luca. Martyrs, apostles and confessors are talking on the San Lorenzo
+doors. Thus St. Stephen shows the stone of his martyrdom to St.
+Laurence. Elsewhere St. Peter's movement suggests that he is
+upbraiding his fellow, for the argument excites these saints. They
+gesticulate freely; martyrs seem to fence with their palm-leaves. One
+will turn away abruptly, another will pay sudden attention<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span> to his
+book, while his companion continues to talk. One man slaps his book to
+clinch the discussion, another jots down a note; two others are ending
+their controversy and prepare to leave&#8212;in opposite directions. But,
+though these are literal descriptions of the scenes, there is no
+levity; everything is ordained according to Donatello's strict
+formula. He was none the less determined to adhere to the old
+conventional and non-pictorial treatment of the gates, and at the same
+time to give animation to every panel. In this he has succeeded, but
+the symmetrical arrangement in pairs preserves a decorum in spite of
+the vigorous movement pictured on the doors. These doors open and
+shut: they were meant to do so, especially to shut. Ghiberti's second
+pair of doors for the Baptistery do not <i>shut</i>: they are closed, but
+they do not give the sense of shutting anything in or keeping anything
+out. They are more like windows than doors. They give no impression of
+defence or resistance: they are doors in nothing but name, and the
+chance that they hang on hinges. Were it merely a contest between
+Ghiberti and Donatello as to which sculptor were the more skilled
+constructor of doors, further comment would be unprofitable; but it
+raises the wider question of the laws and limitations of
+bas-relief&#8212;the application to sculpture of the principles of
+painting; in short, the broad line of demarcation between two
+different arts. Michael Angelo probably realised the unity of the arts
+better than Donatello, but Donatello knew enough to treat sculpture
+with due respect: he valued it too highly to confuse the issue by
+pictorial embellishments. It is no question of a convention, still
+less of a canon. But there are inherent boundaries between the two
+arts; and where the boundaries are overstepped, one or the<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span> other art
+must lose some of its essential quality and charm. Donatello's reliefs
+at Padua are crowded: Ghiberti's (on the second gates) are
+overcrowded. The difference in degree produces a difference in
+principle. If Ghiberti had made pictures instead of reliefs, the
+atmosphere would keep the objects in their right places, while
+differences of colour would give distinction to certain parts and the
+chief figures would still predominate. In other reliefs Ghiberti
+lavished so much care on landscape and architecture that the figures
+become of secondary importance: on one relief a tree casts its shadow
+on a cloud.<a name="FNanchor_172_172" id="FNanchor_172_172"></a><a href="#Footnote_172_172" class="fnanchor">[172]</a> Ghiberti, in fact, with all his plastic elegance,
+with a grace, suavity and sense of beauty which Donatello never
+approached, was a painter at heart. &quot;<i>L'animo mio alla pittura era in
+grande parte volto</i>,&quot; he says in his Commentary,<a name="FNanchor_173_173" id="FNanchor_173_173"></a><a href="#Footnote_173_173" class="fnanchor">[173]</a> and the faults
+of his sculpture are due to this versatility. Donatello only used his
+pictorial knowledge to perfect form and feature; and, complex as his
+architectural backgrounds often are, they never suggest experiments in
+perspective, and they never detract from the primacy of the people and
+the incident. Michael Angelo was under no illusion on this point: he
+never confused painting and sculpture. Yet he said Ghiberti's gates
+would be worthy portals of paradise. &quot;<i>Ce n'est pas la seul sottise
+qu'on lui fasse dire</i>,&quot; drily remarked the Chevalier des Brosses;<a name="FNanchor_174_174" id="FNanchor_174_174"></a><a href="#Footnote_174_174" class="fnanchor">[174]</a>
+and, curiously enough, about the time that Michael Angelo made his
+famous Judgment, an amateur of the day made a much shrewder criticism,
+long since forgotten, that the doors would be adequate to stand at the
+gates of Purgatory:&#8212;&quot;<i>sarebbon bastanti a stare alle porte del
+Purgatorio.</i>&quot;<a name="FNanchor_175_175" id="FNanchor_175_175"></a><a href="#Footnote_175_175" class="fnanchor">[175]</a><span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span> The ambiguity is not without humour. Sculpture,
+indeed, had no reason to ape or imitate painting. Sculpture, in fact,
+was in advance of painting during the first half of the fifteenth
+century. Donatello, Luca della Robbia, Jacopo della Quercia, and
+Ghiberti were greater men in sculpture than their contemporaries in
+painting. The arts were in rivalry; the claim for precedence was
+zealously canvassed. The sculptors claimed superiority because their
+art was older, because statuary has more points of view than one. You
+can walk round it, while a picture has only one light and one view.
+Moreover, the argument of utility applies most to sculpture, which can
+be used for tombs, columns, fountains, caryatides, &amp;c. Sculpture has
+finality, for, though it takes longer to make, it cannot be constantly
+altered like a picture. While all arts try to imitate nature,
+sculpture gives the actual form, but painting only its semblance. A
+man born blind has a sense of touch which gives him pleasure from
+sculpture, which is better suited to theology, which has greater
+durability, and so forth. The painter replied that, if a statue has
+more than one point of view, a picture containing many figures can
+give even greater variety. Then the argument of utility denies the
+essence of art, which is to imitate nature, not to adorn brackets and
+pilasters; but even if decoration be an end in itself, painting can be
+used where sculpture would be too heavy. The painter continues that
+his art requires higher training in such things as atmosphere and
+perspective. As to the greater durability of sculpture, the material
+and not the art is responsible; but, in any case, painting lasts long
+enough to be worth achieving. Finally, sculpture cannot always imitate
+nature: the sense of colour can make a sunset, a storm at sea,<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
+moonlight, landscape and human emotions, which are best translated by
+varying colour and light. The controversy is unsettled to this
+day.<a name="FNanchor_176_176" id="FNanchor_176_176"></a><a href="#Footnote_176_176" class="fnanchor">[176]</a> The wise man, like Donatello, selected his art and never
+overstepped the boundary.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE36">
+<img src="images/image36.jpg" width="309" height="400" alt="Judith" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>JUDITH</b></p>
+
+<p style="text-align: center"><span class="caption"><b>LOGGIA DEI LANZI, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Judith.</div>
+
+<p>The bronze statue of Judith was probably made shortly before
+Donatello's journey to Padua. It is his only large bronze group, and
+its faults are accentuated by the most unfortunate position it
+occupies in the lofty Loggia de' Lanzi. It was meant to be the
+centrepiece of some large fountain. The triangular base, and the
+extremities of the mattress on which Holofernes sits, have spouts from
+which the water would issue, though the bronze is not worn away by the
+action of water. As we see the statue now, it looks small and dwarfed.
+In a courtyard it would look far more imposing, and when it came from
+Donatello's workshop, placed upon a pedestal designed for it, its
+present incongruities would have been absent. For instance, the feet
+of Holofernes would have been upheld by something from below, as the
+marks in the bronze indicate. With all its disadvantages, the statue
+is extremely interesting. Judith stands over Holofernes. With her left
+hand she holds him up by clutching his hair: her right arm is
+uplifted, in which she holds the sword. The action seems arrested
+during a moment of suspense: one doubts if the sword will ever fall.
+Judith, who was the ideal of courage and beauty, seems to hesitate;
+there is nothing to show that her arm is meant to descend,<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span> except
+her inexorable face&#8212;and even that is full of sadness and regrets. It
+is more dramatic that this should be so. Cellini's Perseus close by
+has already committed his murder. The crisis has passed, the blood
+spurts from the severed head and trunk of the Medusa; so we have
+squalid details instead of the overpowering sense of impending
+tragedy. With Cellini there was no room for mystery: no imagination
+could be left to the spectator. &quot;<i>Celui qui nous dict tout nous
+saousle et nous d&#233;gouste.</i>&quot; Holofernes is an amazing example of
+Donatello's power. He is a really drunken man: we see it in the
+comatose fall of the limbs, in the drooping features, the languid
+inanition of the arms. The veins throb in his hands and feet: the
+spine has ceased to be rigid, and were it not for the support of
+Judith's hands buried in his hair, he would topple over inanimate. The
+treatment of the bronze is successful and its patina is admirable.
+Judith's drapery, it is true, has a restless crackling appearance. It
+is furrowed into small and rather fussy folds, almost suggesting, like
+the figures of the Parthenon pediment, the pleats of wetted linen on a
+lay figure. Judith's arm is overweighted by the heavy sleeve. There
+are, however, pleasing details, especially the band of embroidery over
+her breast decorated with the flying <i>putti</i>; and her veil, Michael
+Angelesque in its way, is treated with skill and distinction. The base
+consists of three bronze reliefs joined into a triangle, separated at
+each angle by a narrow bronze plaque, beyond which is a curved
+pilaster giving extra support to the figures above. These reliefs are
+bacchic in idea and Renaissance in execution. Children dance, play and
+sleep around the mask from which the jet of water would issue. These
+reliefs, much inferior to the bronze capital at Prato, have been
+over-<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span>rated. As a group the Judith is not really successful. It is a
+pile of figures, less telling in some ways than the Abraham and Isaac,
+though, having no niche, it has to undergo the severer test of
+criticism from every aspect. But before Michael Angelo the Italian
+free-standing group was tentative. Even in Michael Angelo's sculpture,
+when we consider its massive scale, the extent and number of his
+commissions, and the ease with which he worked his material, it is
+astonishing how few free-standing groups were made. His grouping was
+applied to the relief. The free group is, of course, the most
+comprehensive vehicle of intensified emotion or action; it gives an
+opportunity of doubling or trebling the effect on the spectator.
+Sculpture has never realised to the full the chances offered by
+grouped plastic art of heroic proportions. Classical groups cannot be
+fairly judged by the Laocoon, the Farnese Bull, or even the Niobe
+reliefs. Their theatrical character is so patent, that it is obvious
+how far inferior they must be to the work of greater men whose genuine
+productions have perished. But, even so, the group being the medium
+through which emotions could be intensified to the uttermost, it is
+not necessary to assume that they were common in classical times;
+partly owing to the technical difficulties and expense, and partly
+owing to their disinclination to make sculpture interpret profound
+impressions, mental or intellectual.</p>
+
+<p>There are only four life-sized statues of women by Donatello: this
+Judith, the Magdalen, the St. Justina, and the Madonna at Padua. The
+Dovizia is lost, and she was treated as an emblematic personage. These
+figures and the statuettes at Siena show that, although not accustomed
+to make female statues, Donatello was perfectly competent to do so.
+The little Eve, on the back of the<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span> Madonna's throne at Padua&#8212;the
+only nude figure of a woman he ever made, and here only in relief&#8212;is
+exquisite in sentiment and form. The statue of Judith had an
+adventurous life. After the revolution in 1495, the group was removed
+from the Medici palace to the Ringhiera of the Palazzo Pubblico, and
+the words of warning against tyranny were engraved on its new base:
+&quot;<i>Exemplum salutis public&#230; cives posuere</i>, 1495.&quot; Judith was the type
+of nationalism, the heroine of a war of independence: and this mark of
+the Florentine love of liberty has lasted to our own day. No Medici
+dared to obliterate the ominous words. Donatello was not much in
+politics: his father had taken too violent a share in the feuds of his
+day, and narrowly escaped execution. Nor was Donatello's art coloured
+by politics: the Florentines did not give commissions like the Sienese
+for allegorical representations of the life and duties of citizenship.
+Differing from Michael Angelo, Donatello made no Brutus; he did not
+concentrate the political tragedies of his day into a Penseroso and a
+group of statues full of grave symbolical protests against the
+statecraft of his time; and, except for the accidental loss of
+Judith's pedestal, Donatello's art never suffered from the curse of
+politics. Michael Angelo was always surrounded by the pitfalls of
+intrigue and politics: some of his work was sacrificed in consequence.
+The colossal statue of Pope Julio was hurled from its place on the
+fa&#231;ade of San Petronio, Maestro Arduino the engineer, having covered
+the ground where it was to fall with straw and fascines, in order that
+no damage should be done&#8212;to the pavement! And the broken statue was
+sent away to Ferrara, where it was converted into a big cannon, which
+they felicitously christened Juliana!<a name="FNanchor_177_177" id="FNanchor_177_177"></a><a href="#Footnote_177_177" class="fnanchor">[177]</a></p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span></p>
+
+<p style="text-align: center"><a name="IMAGE37">
+<img src="images/image37.jpg" width="294" height="400" alt="St. Mary Magdalen" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. MARY MAGDALEN</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BAPTISTERY, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Magdalen and Similar Statues.</div>
+
+<p>We have now to consider a group of rugged statues differing in date
+but animated by the same motive, the Magdalen in Florence and three
+statues of St. John the Baptist in Siena, Venice, and Berlin. Of
+these, the Magdalen in the Baptistery at Florence is the most typical
+and the most uncompromising. She stands upright, a mass of tattered
+rags, haggard, emaciated, almost toothless. Her matted hair falls down
+in thick knots; all feminine softness has gone from the limbs, and
+nothing but the drawn muscles remain. It is a thin wasted form,
+piteous in expression, painful in all its ascetic excess. The Magdalen
+has, of course, been the subject of hostile criticism. It gives a
+shock, it inspires horror: it is an outrage on every well-clothed and
+prosperous sinner.<a name="FNanchor_178_178" id="FNanchor_178_178"></a><a href="#Footnote_178_178" class="fnanchor">[178]</a> In point of fact, Donatello's summary method
+of carving the wood has given a harshness and asperity to features
+which in themselves are not displeasing. In a dimmed light, or looking
+with unfocused eyes on the reproduction, it is clear that the
+structural lines of the face were once well favoured. But from the
+beginning the Magdalen was a work which made a profound impression,
+and its popularity is measured by the number of statues of a like
+nature. Charles VIII. wanted to buy it in 1498, but the Florentines
+thought it priceless and hid it away. Two years later they had the
+bronze diadem added by Jacopo Sogliani.<a name="FNanchor_179_179" id="FNanchor_179_179"></a><a href="#Footnote_179_179" class="fnanchor">[179]</a> Finally, at a period when
+this type of sculpture with all its appeal to the traditions<span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span> of the
+Thebaid, was least likely to have been acceptable in art or exemplar,
+the statue was placed in a niche above an altar erected on purpose for
+its reception, where an inscription testifies to the regard in which
+it was then held.<a name="FNanchor_180_180" id="FNanchor_180_180"></a><a href="#Footnote_180_180" class="fnanchor">[180]</a> This Magdalen is didactic in purpose. Donatello
+seems to have given less attention to the modelling, subtle as it is,
+than to the concentration of the one absorbing lesson which was to be
+conveyed to the spectator. His object was to show repentance, abject
+unqualified remorse; purified by suffering, refined by bodily
+hardship, and sustained by the &quot;sun of discipline and virtue.&quot; There
+is no luxury in this Magdalen, but she may have contributed to the
+reaction when Pompeo Battoni and the like transformed her into an
+opulent personage, dressed in purple, who reclines in some luscious
+glade while simpering over a bible. By then art had ceased to know how
+penitence could be decently portrayed, and the penitent was not long a
+genuine subject of art. The Greeks, of course, had no penitent or
+ascetic in their theocracy: even the cynic scarcely found a place in
+their art. In Italy the Thebaids of Lorenzetti are among the earliest
+versions; the sculpture of the following century brought it still more
+home to the public, and then the true medi&#230;val sentiment upon which
+this and similar works were founded vanished and has never reappeared.
+The date of the Magdalen has provoked a good deal of controversy:
+whether it was made immediately before or after the visit to Padua
+cannot be determined. But the statue has so many features in common
+with the Siena Baptist of 1457 that one can most safely ascribe it to
+some date after Donatello's return to Florence. It is<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> certainly more
+easy to justify the Magdalen from the pulpits of San Lorenzo than from
+anything made before his journey to Northern Italy. One
+misapprehension may be removed. It is argued that the Magdalen cannot
+be posterior to Padua on the ground that by 1440 Donatello had ceased
+to work in any material but soft and ductile clay, which was converted
+into bronze by his assistants. The argument is that of one who
+probably thinks that the Entombment at Padua is made of terra-cotta,
+and who forgets that Donatello executed a number of works in stone for
+the Marchese Gonzaga about 1450.<a name="FNanchor_181_181" id="FNanchor_181_181"></a><a href="#Footnote_181_181" class="fnanchor">[181]</a></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center"><a name="IMAGE38">
+<img src="images/image38.jpg" width="306" height="400" alt="St. John the Baptist" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>ST. JOHN THE BAPTIST</b></p>
+
+<p style="text-align: center"><span class="caption"><b>FRARI CHURCH, VENICE</b></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The statues of St. John at Siena, Berlin, and Venice<a name="FNanchor_182_182" id="FNanchor_182_182"></a><a href="#Footnote_182_182" class="fnanchor">[182]</a> are closely
+analogous to the Magdalen. St. John is the ascetic prophet who spent
+years in seclusion, returning from the desert to preach repentance.
+These three figures have one curious feature in common&#8212;a flavour of
+the Orient. The St. John is some fakir, some Buddhist saint. Asiatic
+as the Baptist was, it is seldom that Italian art gave him so Eastern
+a type; but the explanation is simply that Donatello evolved his own
+idea of what a self-centred and fasting mystic would resemble, and his
+conception happens to coincide with the outcome of similar conditions
+actually put into practice elsewhere. The Berlin bronze is St. John as
+Baptist, the others show him with the scroll as Precursor. He always
+wears the camel's-hair tunic, which ends just below the knee; at Siena
+it is thick, like some woolly fleece; it conceals and broadens the
+frame, thus suggesting a stoutness which is not warranted by the<span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span>
+size of the leg. The modelling of legs and arms in these statues is
+noteworthy. They are thin, according to Donatello's idea of his
+subject; and though the thinness takes the natural form of slender
+circumference, one sees that the limb with its angular modelling and
+its flat surfaces has <i>become</i> thin: the thinness is explained by the
+character. The feet of the Siena bronze are exceptionally good; the
+wrist and forearm of the Venice figure are admirable. The Siena
+Baptist is nearly life-sized, and was made in 1457. He is the least
+introspective of the three, a mature strong man, and the oldest of the
+many Baptists Donatello made. The Berlin figure is the flushed
+eccentric, holding up the cup he used in baptizing. The figure is half
+the size of life, and was doubtless one of the numerous statuettes
+which crowned fonts. It has been suggested that this bronze, which is
+defective in several places, was commissioned for the Cathedral of
+Orvieto in 1423.<a name="FNanchor_183_183" id="FNanchor_183_183"></a><a href="#Footnote_183_183" class="fnanchor">[183]</a> But the type would appear more advanced than the
+busts on the Mandorla doorway or the Siena work made about this time.
+Moreover, the contract specifies a St. John <i>cum signo crucis et
+demonstratione ecce agnus Dei</i>. A Baptist was made at the same time
+for Ancona, and is now lost. On first seeing the St. John in Venice
+one's impression is to laugh. But he is not really a wild man of the
+woods&#8212;he is simply covered with and made grotesque by thick masses of
+oil paint. A close examination of the figure shows that in some places
+the paint is over a quarter of an inch thick, and the last coating it
+has received is glutinous in quality, and has been laid on with such
+freedom that the position and shape of certain features are<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span> altered.
+But if seen close at hand, the statue (which it is understood will
+shortly be cleaned) shows distinct merits. The modelling of the
+extremities is good, and though it is clear that Donatello was never
+quite willing to treat St. John as on a par with the other Saints, we
+have a systematic and generic rendering of his idea. In some measure
+painting was needed as a preservative for wood statues, otherwise it
+is difficult to justify the covering of a fine material by paint which
+cannot do justice to itself, while it must hide the refinements of the
+carving. Donatello worked but little in wood. Crucifixes were commonly
+made of it, but the material was one which could never receive <i>quella
+carnosit&#224;</i> and <i>morbidezza</i><a name="FNanchor_184_184" id="FNanchor_184_184"></a><a href="#Footnote_184_184" class="fnanchor">[184]</a> of marble or metal. The Greeks
+limited their use of it to garden and woodland themes: the Egyptians
+used it but little, because they had so few trees. In Donatello's time
+it was popular, and came to be regarded as a distinct art. Thus the
+Sienese wood-carvers were forbidden to work in stone,<a name="FNanchor_185_185" id="FNanchor_185_185"></a><a href="#Footnote_185_185" class="fnanchor">[185]</a> but the
+great masters like Donatello did not strictly adhere to the rules, and
+did not refrain from invading the art of the woodcarver. There is a
+large class of statues derived from the four just described. One of
+these, attributed to Donatello, is the St. Jerome at Faenza, also made
+of wood.<a name="FNanchor_186_186" id="FNanchor_186_186"></a><a href="#Footnote_186_186" class="fnanchor">[186]</a> Chocolate-coloured paint has been ladled all over the
+body. The beard is faint lavender, and the canvas loin-cloth is blue.
+The pose and expression are mannered. It is usual to dismiss it in an
+offhanded way as a bad and later work;<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span> but the modelling shows signs
+of skill, and until the paint is removed it is useless to make
+guesses. Two bronze statuettes of the Baptist<a name="FNanchor_187_187" id="FNanchor_187_187"></a><a href="#Footnote_187_187" class="fnanchor">[187]</a> are distinctly
+Donatellesque, and made about 1450, though it is impossible to assign
+them with certainty to the master himself. Michelozzo's versions of
+St. John at Montepulciano, on the Cathedral altar in Florence, and in
+the Annunziata, show the influence of Donatello; but the Baptist is a
+milder prophet, and no longer the hermit. In the Scalzi at Florence
+there is a Baptist which is typical of many others of the same
+character. The Magdalen was less copied than the St. John. The version
+nearest Donatello himself is in London, a large grim bust;<a name="FNanchor_188_188" id="FNanchor_188_188"></a><a href="#Footnote_188_188" class="fnanchor">[188]</a> in the
+same collection is a relief of her apotheosis, and the Louvre
+possesses a similar work.<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footnote_189_189" class="fnanchor">[189]</a> Neither of the latter is by Donatello
+himself, but they recall his influence.<a name="FNanchor_190_190" id="FNanchor_190_190"></a><a href="#Footnote_190_190" class="fnanchor">[190]</a> The large Magdalen in
+Santa Trinit&#224; at Florence is a good example of the <i>bottega</i>.</p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">The Altar at Padua.</div>
+
+<p>Donatello was fifty-seven when he left Florence in 1443 to spend ten
+eventful years at Padua. There he carried out his masterpieces of
+bronze for the Cathedral and the equestrian statue of Gattamelata on
+the Piazza opposite Donatello's little house, which to this day is
+occupied, appropriately enough, by a carver&#8212;Bortolo Slaviero,
+<i>tagliapietra</i>. It is now established<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span> that Donatello was invited to
+Padua for the Church and that the Gattamelata was not commissioned
+until later.<a name="FNanchor_191_191" id="FNanchor_191_191"></a><a href="#Footnote_191_191" class="fnanchor">[191]</a> At this time Padua was a centre of humanistic
+learning and intellectual activity. There was a hive of antiquarians
+and collectors, and, according to its lights, a thriving school of
+painters.<a name="FNanchor_192_192" id="FNanchor_192_192"></a><a href="#Footnote_192_192" class="fnanchor">[192]</a> The Florentine Palla Strozzi was living there in
+retirement, and he may have been partly responsible for the invitation
+to Donatello. But the indigenous art of Padua was dependent on Venice,
+and needed some fertilising element. Squarcione with his 140 pupils
+founded his art upon traditional and conventional data: had it not
+been for Donatello and the radical changes which resulted from his
+sojourn at Padua, a fossilised school would have become firmly rooted,
+and would probably have influenced the whole of the Veneto. Mantegna
+was still young when Donatello arrived, and though there is no reason
+to suppose that he received work from Donatello as Squarcione did, it
+is clear that, without this influx of Southern ideas, he would have
+had some difficulty in shaking off the conventionalisms of his home.
+But though Donatello's immediate influence on Paduan art was decisive
+(and its ramifications soon extended to Venice), he was himself
+influenced by his fresh surroundings, and his native bent towards
+complexity was increased. He assimilated many of the local likes and
+dislikes. If Gattamelata had been erected in some Florentine square
+there would have been less ornament; if Colleone had been commissioned
+for Siena there would have been less <i>braggadocio</i>. Leonardo never
+recovered his Tuscan frame of<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span> mind after his sojourn in Milan.
+Donatello himself realised these novelties to the full, and their
+results upon his art. While he was making the intricate bas-reliefs,
+the selective genius of Luca della Robbia was composing the Florence
+Lunettes,<a name="FNanchor_193_193" id="FNanchor_193_193"></a><a href="#Footnote_193_193" class="fnanchor">[193]</a> monumental in their simplicity. And though Vasari
+records the enthusiasm with which Donatello's productions were greeted
+in the North, the sculptor recognised the dangers of unqualified
+praise, and said he must return home to Florence to receive criticism
+and censure, the stimulus to better work and greater glory. But the
+<i>maggiore gloria</i> was not to be attained. He was old when he left
+Padua, and on his departure he had completed the greatest undertaking
+of his career&#8212;the High Altar of the Santo, with all its marble
+setting and the bronze figures. A crucifix, the Madonna and Child, six
+saints, a Piet&#224;, twelve panels of angels, four reliefs of St Anthony's
+Miracles, the Symbols of the Evangelists, and a large marble
+Entombment. Donatello's altar was unfortunately dismantled in the
+seventeenth century, and the statues were dispersed throughout the
+Church. The altar was reconstructed a few years ago, and the bronzes
+have suffered during their exile, but they are still in good
+preservation. The new marble altar is a thoughtful and painstaking
+construction; its details are derived from Donatellesque motives, and
+the bronzes are fitted in with skill. It cannot, however, be in any
+sense a reproduction of the old altar, of which no drawing is
+preserved. And the earliest description, which has been carefully
+followed as far as circumstances allow, shows that the existing
+sculpture is incomplete: at least four marble reliefs have been
+lost.<a name="FNanchor_194_194" id="FNanchor_194_194"></a><a href="#Footnote_194_194" class="fnanchor">[194]</a><span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span> One may further remark that the twelve angels in high
+relief, now forming the face of the altar frontal, are so designed,
+especially as regards their aureoled heads, that one concludes it must
+have been Donatello's intention for them to have been looked up to
+rather than looked down upon. The present arrangement of the altar is
+simple and effective. The frontal itself is composed of children
+singing and playing music. In the centre is the Piet&#224;, and on either
+side is an Evangelist's symbol flanked by two saints on the level of
+the top of the altar. The retable has two miracle reliefs, and between
+them a small bronze Christ, which has been put there in error. Above
+the retable is the Madonna with two saints on either side: the
+crucifix surmounts the whole composition. The back of the altar has
+the remaining Miracle reliefs and Evangelist symbols, together with
+the Entombment.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE39">
+<img src="images/image39.jpg" width="400" height="298" alt="St. Francis, Madonna, St. Anthony" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SAINT FRANCIS, THE MADONNA, AND SAINT ANTHONY</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Large Statues.</div>
+
+<p>Of the seven large free-standing statues, that of the Madonna and
+Child worthily occupies the central position. Nobody was more modern
+than Donatello, nobody less afraid of innovation. But in this Madonna
+he went back to archaic ideas, and we have a conception analogous to
+the versions of the two previous centuries:<a name="FNanchor_195_195" id="FNanchor_195_195"></a><a href="#Footnote_195_195" class="fnanchor">[195]</a> indeed, his idea is
+still older, for there is something Byzantine in this liturgical
+Madonna, who gazes straight in front of her, and far down the nave of
+the Santo&#8212;a church with mosque-like domes, like those of the early
+Eastern architects. The Child is seated in her lap, as in the
+earliest<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span> representation of the subject: here, however, the Christ
+is a child, with an element of helplessness almost indicated, whereas
+the primitive idea had been to show the vigour and often the features
+of a biggish boy. Donatello's version is much more pathetic, as the
+little Christ raises a tiny hand in benediction. The Virgin herself is
+of unequalled solemnity, while her young and gracious face, exquisite
+in expression and contour, is full of queenly beauty. But there is
+still this atmosphere of mystery, an enigmatic aloofness in spite of
+the warm human sentiment. The Sphinx's faces, with all their
+traditions of secrecy, contribute their share to the cryptic
+environment. Donatello uses them as the supports of the throne on
+which the Madonna is seated; behind it are Adam and Eve in relief: in
+front she herself shows the New Adam to the multitude, on whom he
+confers his blessing. St. Francis of <span lang="el" title="Transcriber's Note: Correction for Padua">Assisi</span>
+stands on the right of the Madonna, as founder of the
+Order, and taking precedence of St. Anthony, to whom the church is
+dedicated. He holds the crucifix and the book of rules. He is draped
+in the ordinary Franciscan habit, which falls round his feet, giving a
+stiffness to the figure as seen in profile, and making him appear
+rather short when seen from the front. The workmanship is good, the
+hands, with lightly shown stigmata, being excellent; but the lack of
+distinction in the figure makes one look more closely at the head,
+which is modelled with great power and freedom, showing that Donatello
+still possessed the vigour and penetration for which the Campanile
+prophets are notable. The head is full of character; not perhaps what
+one would expect from the apostle of self-abnegation: but it is
+determined, strong in the mouth and broad chin. It was, of course,
+only meant to be seen a few feet from the ground,<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span> and the lines do
+not compare in depth with the Habbakuk or the Zuccone; but there is
+none the less an analogy in the manner by which Donatello calls in the
+assistance of light and shade to add tone and finish to the modelling.
+St. Anthony was a deservedly popular saint in Padua, where he preached
+and denounced the local tyrant; and he may be accounted the greatest
+man of Portuguese birth. But Donatello does not seem to have found the
+subject very inspiring. He has taken his idea from rather an ordinary
+friar such as he or we might see any day. It is a good homely face,
+neither worldly nor spiritual, and only redeemed from the commonplace
+by technical ability. St. Daniel is more interesting; the young deacon
+is extremely well posed, the plain and massive features being drawn
+with a firm and confident touch; and the deacon's vestments, which
+always take an easy and becoming fall, are decorated in a typical way
+with winged children arbitrarily introduced, and looking more like the
+detail of some bas-relief than a piece of embroidered ornament. St.
+Justina wears the coronet as princess, and bears the palm-leaf as
+martyr. She has no pronounced characteristic, the face being rather
+unemotional; but the gesture of her outstretched hand is not without
+an appealing dignity. The hair, like that of the Madonna, is parted in
+the centre, and stands off from the forehead, and then falls in rich
+tresses about her shoulders. It has not the soft and silken texture of
+the Madonna's hair, which is rendered with as great a skill as one
+sees in the Virgin of the Annunciation. In both these latter cases
+Donatello succeeds in giving to the hair an indescribable suggestion
+of something full of elasticity and lustre. But St. Justina's hair at
+least grows: so many sculptors of ability failed to indicate that
+needful quality.<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span> St. Procdocimus and St. Louis are of subordinate
+merit, and show the work of assistants in several particulars. The
+former was first Bishop of Padua and converted the father of St.
+Justina to Christianity. At first sight the statue is pleasing, but on
+closer examination the weaknesses, especially in the face, become
+marked. There is indecision, not in the pose or general idea, but in
+the details which give character to the whole conception. The features
+are chiselled by a small <i>mesquin</i> personality, and what might have
+been a fine statue if carried out by Donatello has been ruined by his
+assistants. The ewer which the Bishop carries is a later addition,
+from the design of which one might almost argue that the statue itself
+is later than the others.<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a> The St. Louis, wearing his episcopal
+robes above the Franciscan habit, his mitre decorated with a
+fleur-de-lys of royal France, is also hammered all over, giving the
+bronze the appearance of being dotted with little pin-holes. The head
+is, however, marked by the grave austerity for which the St. Louis in
+Santa Croce is so remarkable, and which became the typical rendering
+of the saint in fifteenth-century plastic art. However much Donatello
+may have allowed a free hand to his assistants in this statue, the
+fine qualities of the head are attributable to a strict adherence to
+his own sketch. The last of the great bronze figures is the crucifix
+above the high altar. It is magnificent, apart from the technical
+qualities which rival Donatello's most brilliant achievements. All the
+lines droop together in a wonderful <i>cadenza</i>; the face is
+transfigured by human pain, but all the superhuman power remains.
+Donatello combines the literal and<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span> symbolical meaning of the Cross;
+the Godhead is still there. Donatello did not forget that the
+crucified Christ, when represented by the sculptor, had to preserve
+all the immortality of the Son of God. His <i>contadino</i> Christ in
+Florence has its interest in art; this Christ marks the summit of his
+plastic ability; but it shows that, without any appeal to terror or
+emotionalism, without, indeed, suppressing the signs of physical pain,
+Donatello was able to give an overwhelming portrait of Christ's agony.
+The celestial and the terrestrial are unified and fused into one
+tremendous concentration of human suffering, tempered by divine power.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE40">
+<img src="images/image40.jpg" width="500" height="232" alt="Miracle of the Speaking Babe" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MIRACLE OF THE SPEAKING BABE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE41">
+<img src="images/image41.jpg" width="500" height="228" alt="Miracle of the Miser's Heart" /></a></p>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MIRACLE OF THE MISER'S HEART</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE42">
+<img src="images/image42.jpg" width="500" height="231" alt="Miracle of the Mule" /></a></p>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MIRACLE OF THE MULE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+<p>&#160;</p>
+
+
+<div class="sidenote">The Bronze Reliefs.</div>
+
+<p>The four panels of Miracles take the highest rank among Donatello's
+bas-reliefs. Their size is considerable, being about four feet long.
+They have one theme in common, namely, the supernatural gifts of St.
+Anthony and the veneration of the populace. Donatello's crowds are
+admirable; they are deep crowds. The people are rather hot and
+jostling each other: they stand on benches or stairs in order to get a
+better view of what is proceeding. The edges of the crowds, where the
+people are too far off to be active spectators, lose interest in the
+central incident; they gossip as bystanders or sit down: often they
+are shown actually leaving the place. It is singular how ill-designed
+many of the classical crowds are, especially the battle-scenes: they
+are constructed without regard for the human necessity of standing on
+something; and we have grotesque topsy-turvy compositions, the
+individual parts of which are unrivalled in technique.<a name="FNanchor_197_197" id="FNanchor_197_197"></a><a href="#Footnote_197_197" class="fnanchor">[197]</a> Michael<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>
+Angelo's first and last representation of a crowd in sculpture shows
+the same fault, which, indeed, was far from uncommon.<a name="FNanchor_198_198" id="FNanchor_198_198"></a><a href="#Footnote_198_198" class="fnanchor">[198]</a> It arose
+from a desire to show more of the crowd than could be naturally seen
+from the eye level, and the whole relief was consequently covered with
+figures, the background proper being suppressed. In these Paduan
+reliefs Donatello manages to give ample density and variety, and there
+is never any doubt as to the ownership of legs or arms. His early
+relief at Siena, on the other hand, has a group where there is
+confusion, which is not justified in a quiet gathering of people.
+Another feature which the four reliefs have in common is Donatello's
+treatment of narrative. Ghiberti's plan was to put several incidents
+into one relief, forming a sequence of events leading up to the
+critical episode, to which he usually gave the best place in the
+foreground. He consistently followed up his formula in the second
+gates, and brought the practice to its perfection. Whether suitable or
+not for gates, it would have been an intelligible treatment of purely
+decorative reliefs, like those at Padua. Donatello, however, confines
+his plaques to single incidents: in one case only does he add a second
+detail, and there only as a corroborative fact. The narrative is shown
+in the crowd itself. Attitudes and expression are made to reflect the
+spirit of what has gone before, while the actual occurrence suffices
+to show the final issue of the story. Thus we have all the ideas of
+which others would have made a series of subordinate scenes:
+incredulity, fear, surprise, mockery, apathy and worship. The crowd
+shows everything which has already passed, and the composition of the
+bas-reliefs thus secures a striking homogeneity. It is difficult to<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span>
+say which of them is best. The variety in dress, scene and physiognomy
+is so remarkable; varying, no doubt, according to the tastes of the
+<i>garzone</i> responsible for finishing it. Probably the miracle of the
+Speaking Babe is the best known. A nobleman of Ferrara doubted the
+honour of his wife; St. Anthony conferred the power of speech on her
+infant child, which proclaimed its mother's innocence. Donatello has
+put an exquisite little Madonna and Child just above the central
+figures of the legend. The composition of this group, as in the
+others, is broken by the architecture, otherwise the length of the
+bronzes might have tended to a monotonous row of figures. But the
+projecting background does not make the episode less coherent. The
+mother is just receiving back her baby from the saint; behind her are
+women, friends and others; whereas the opposite side of the relief is
+entirely occupied by men, who are around her husband; and the
+suggested conflict of the sexes is averted by the miracle. The
+husband, who wears an odd sort of <i>bonnet tricolore</i>, and several of
+his comrades are simply dressed in short cloaks open at the sides and
+ending just below the hip. The legs and arms, and especially the
+hands, are very well modelled. In this relief the actors are quiet and
+decorous, and where not motionless are moving slowly. The miracle of
+the Miser's Heart is more emotional: &quot;where thy heart is there shall
+thy treasure be also.&quot; The miser having died, St. Anthony said that
+his heart would be found in his strong box: this was proved to be the
+case, and then when the body was opened it was found that his heart
+was absent. The scene is nominally inside a church: in the background
+is a procession of clergy and choristers with their cross and candles.
+In the centre is the bier with the corpse lying on it. The body is
+opened<span class="pagenum"><a name="Page_159" id="Page_159">[Pg 159]</a></span> and the crowd looks on in feverish though suppressed
+excitement. St. Anthony is pointing towards the dead man: and the
+crowd realises that the heart is absent&#8212;<i>ubi thesaurus ibi cor</i>.
+Numbers of people have dropped on to their knees, others kiss the
+ground where the saint stands. There are signs of distress and
+apprehension on all sides. Some children scuttle back to their
+parents; one of the mothers bends down to catch her child just as it
+is going to fall. Two boys have climbed on to an altar or pedestal to
+get a better view: one of them wears the peaked cap still worn by the
+undergraduates of <i>Padova la dotta</i>. The whole scene is immensely
+dramatic and grim, without any frenzy or excess; and its solemn effect
+is enhanced by the reserve of the people in spite of their excitement.
+The background is full of detail, largely obtained by the chisel: one
+part of it, with the stairs, ladders and upper storey, resembles the
+Lille relief. There are two important inscriptions, cut into the
+metal, to which reference will be made later. The subject of the third
+relief (now placed on the retable and already getting dimmed by
+candle-grease) is the healing of the youth Leonardo, who kicked his
+mother and confessed to St. Anthony, who properly observed that so
+sinful a foot should be cut off. The injunction was taken too
+literally, and the saint's miraculous power replaced the severed limb.
+Strictly speaking, this miracle takes place in the open air, for
+Donatello has introduced a rudimentary sun with most symmetrical rays,
+and half a dozen clouds which look like faults in the casting. But the
+whole relief is framed by an architectural structure, some
+amphitheatre with the seats ranged like steps. A balustrade runs all
+round the huge building, and a number of idlers standing about at the
+far end are reduced to insignificant proportions, thus giving<span class="pagenum"><a name="Page_160" id="Page_160">[Pg 160]</a></span>
+distance and depth to the scene. Leonardo lies on the ground in sad
+pain, and Anthony has just restored the foot. The central group is not
+much animated, but two or three of the men's heads are telling
+character-studies. Donatello has concentrated his crowd into the
+centre: at the sides the miracle passes unheeded. A fat man is
+soliloquising with his hand reposing on an ample stomach: a boy with a
+long stick and something like a knapsack on his back is attracting the
+attention of a young woman, who seems absorbed in watching the
+miracle: her child tries to pull her along to go closer. In the corner
+are some strange recumbent figures, almost classical in idea; and a
+tall woman completely veiled, with her face buried in her hands. The
+last of the reliefs illustrates St. Anthony's power over animals. One
+Bovidilla, a sceptic, possessed a mule; the saint offered the
+consecrated wafer to the animal when starving, and Bovidilla was
+converted by the refusal of the animal to eat it. The scene takes
+place within a church, which, so far as we see the apse and choir, is
+composed of three symmetrical chapels with vaulted and coffered roofs.
+There is plenty of classical detail, but still more of the
+Renaissance; there is no occasion to assume the design to have been
+copied from the Tempio di Pace or the Caracalla baths. St. Anthony
+occupies the centre, and the kneeling mule is on the right, his master
+close at hand. The church is crowded with people, who, on the whole,
+show more curiosity than reverence. Several garrulous boys by the door
+are amused; an old beggar hobbles in; a mother tries to keep a child
+quiet. Others take any post they can secure, and a good many are
+crouching on the ground in all sorts of postures, making a variety
+which amounts to unevenness. In all these panels the head of St.
+Anthony<span class="pagenum"><a name="Page_161" id="Page_161">[Pg 161]</a></span> is of a finer type than that shown in the other version on
+the altar. The features are clear cut, and there is an air of earnest
+distinction which is not observed on the large statue. Speaking
+generally, one notices that while ample scope is allowed to the
+fancies of picturesque architecture in all these reliefs, Donatello
+always keeps it within proper bounds. Donatello was not tempted into
+the interacting problems of perspective and <i>intarsia</i>, which caused
+so many Paduan artists to lose grasp of the wider aspects of their
+calling. Then we notice how the crowd <i>qua</i> crowd plays its proper
+part: out of some two hundred faces in these panels not more than two
+or three look out to the spectator&#8212;a quality inherited by Mantegna.
+The reliefs are essentially local pictures of local significance; not
+only the costume, but the types are Paduan, such as we find in the
+local school of painting: but we find nothing of the kind in Donatello
+before the journey to the north, and the types scarcely reappear on
+the altar of San Lorenzo. But, in spite of this, the reliefs have a
+catholicity which extends their influence far beyond the limits within
+which Donatello confined his work. Finally, the wealth of local
+colouring and animation makes these reliefs among the earliest in
+which &quot;genre&quot; or &quot;conversation&quot; has prominence. They offer a most
+striking contrast to the sedate Florentine crowds painted in the
+Brancacci chapel by Masaccio.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center">
+<a name="IMAGE43">
+<img src="images/image43.jpg" width="400" height="396" alt="Symbol of St. Matthew" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SYMBOL OF ST. MATTHEW</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Symbols of the Evangelists.</div>
+
+<p>There are four other bronze reliefs, the Symbols of the Evangelists.
+Donatello has contrived to invest these somewhat awkward themes with
+alternate drama and poetry. The emblems of Ezekiel's vision were too
+intricate for Western art, and long<span class="pagenum"><a name="Page_162" id="Page_162">[Pg 162]</a></span> before the fifteenth century they
+had been reduced to the simple forms of the lion, ox, eagle and angel,
+with no attribute except wings. All four reliefs are rectangular,
+about eighteen inches square. The ox is, of course, the least
+inspiring, and here as elsewhere is treated in a dry perfunctory
+manner. The oxen on the fa&#231;ade of Laon Cathedral offered some scope to
+the sculptor, being life-sized; but in a small relief the subject was
+not attractive. The lion is more vigorously treated. As a work of
+natural history he is better than the Marzocco, and he has a certain
+heraldic extravagance as well. The limbs have tension, the muscles are
+made of steel, and there is strength and watchfulness, attributes
+which led the early architects to rest the pilasters of the pulpit and
+portal upon lions' backs. But the eagle of St. John is superb, even
+grander than the famous classical marble of the same subject.<a name="FNanchor_199_199" id="FNanchor_199_199"></a><a href="#Footnote_199_199" class="fnanchor">[199]</a> It
+has the broad expanse of wings, vibrating as though the bird were
+about to take flight: the long lithe body with its soft pectoral
+feathers, the striking claws, and the flattened head with cruel
+gleaming eye, all combine to give a <i>terribilit&#224;</i> which is, perhaps,
+unsurpassed in all the countless versions of the symbol. But the drama
+of the eagle is eclipsed by the quiet unostentatious poetry of the
+angel of St. Matthew. We see a girl of intense grace and refinement,
+winged as an angel and looking modestly downwards to the open gospel
+in her hands. Delicacy is the keynote pervading every detail of the
+relief: in her hands, arms and throat, in the soft curves of the young
+frame, and in the drapery itself, which suggests all that is dainty
+and pure&#8212;everywhere, in fact, we find charm and tenderness, rare even
+in a man like Ghiberti, almost unique in Donatello.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_163" id="Page_163">[Pg 163]</a></span></p>
+
+<div class="sidenote">The Choir of Angels.</div>
+
+<p>In the original contract with Donatello, ten angels were commissioned,
+and were exhibited on the provisional wooden altar (13, vi. '48). It
+appears, however, that they were insufficient, and two more panels
+were ordered. These may possibly be the reliefs in each of which a
+couple of angels are represented singing, certainly the most
+successful of all. There is a palpable inequality in the remainder.
+They not only show differences of treatment in the details of drapery,
+chiselling and general decoration, but there is a substantial lack of
+harmony in their broad conception. It is impossible to believe that
+the two angels leaning inwards against the edge of the relief (the
+fourth respectively from either end of the altar) could have been
+modelled by Donatello. Not only are they vulgar and commonplace, but
+they are malformed: well might Donatello long for criticism and
+censure if these two stupid little urchins were standards of his
+production. Next to one of these pipers is a child playing the lute,
+delicious in every respect: he is made by the genius, the other by the
+hack. They contrast in every particular&#8212;drapery, anatomy, face and
+technique. The lutist is admirable as he looks down at his instrument
+to catch the note; capital also is the boy playing the double pipe,
+with the close drapery swirling about his plump limbs, as one sees in
+San Francesco of Rimini, that temple dedicated to Isotta and to
+Childhood. The head of the boy playing the harp shows the best
+characteristics of this group. The hair is relatively short, and falls
+in thick glossy ringlets over his ears; it is bound by a heavy chaplet
+of leaves and rosettes; above this wreath the hair is smooth and
+orderly. There was no occasion to exclude the pleasing little touches,
+as in the<span class="pagenum"><a name="Page_164" id="Page_164">[Pg 164]</a></span> case of the Cantoria children, where deep holes penetrate
+the children's hair, so that the &quot;distance should not consume the
+diligence.&quot; At Padua, where the choristers were to be seen a few feet
+only from the ground, the sculptor's efforts to show the warm shades
+and recesses of the hair were amply repaid. The boys singing the duets
+differ from the remainder: they are busily occupied with their music,
+carefully following the score. The disposition of two children in a
+panel only large enough for one has not been so successfully met as
+when Abraham and Isaac were fitted into the narrow niche on the
+Campanile; but the affectionate attitude of these boys and their
+sincerity make one overlook a slight technical shortcoming. The two
+heads in close proximity give a certain sense of atmosphere between
+them, not easily rendered when one of them had to be modelled in
+comparatively high-relief.</p>
+
+<hr style="width: 45%;" />
+
+<table border="0" cellpadding="5" cellspacing="0" summary="illustrations">
+  <tbody>
+  <tr>
+    <td><a name="IMAGE44">
+    <img src="images/image44.jpg" width="299" height="400" alt="Choristers" /></a></td>
+    <td><a name="IMAGE45">
+    <img src="images/image45.jpg" width="300" height="400" alt="Choristers" /></a></td>
+  </tr>
+  <tr>
+    <td>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>CHORISTERS</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+    </td>
+    <td>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>CHORISTERS</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+    </td>
+  </tr>
+</tbody>
+</table>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE46"><img src="images/image46.jpg" width="400" height="288" alt="Christ Mourned by Angels" /></a></p>
+
+
+<p style="text-align: center"><b>CHRIST MOURNED BY ANGELS</b></p>
+
+<p style="text-align: center"><span class="caption"><b>LONDON</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Piet&#224; and the Entombment.</div>
+
+<p>The remaining work for the high altar consists of a marble Entombment
+and a bronze relief of Christ mourned by Angels, treated as a Piet&#224;.
+The tabernacle door, which occupies the centre of the high altar,
+differs in shape, quality and design from everything else, and is
+wholly unworthy of its prominent position. The lower relief is,
+however, a work of exceptional interest. It is placed in the centre of
+the frontal with the reliefs of choristers on either side of it, a
+tragic culmination to all the happy children around it. The Christ is
+resting upright in the tomb, half of the figure only being visible.
+The head is bowed and the hands crossed: the face is wan and haggard.
+The body is modelled to emphasise the pronounced lines of the big<span class="pagenum"><a name="Page_165" id="Page_165">[Pg 165]</a></span>
+curve formed by the ribs from which the lower part of the body is fast
+sinking: Donatello did the same thing with the crucifix. An angel
+stands at each side of the Christ, holding up a curtain or pall behind
+the figure. Each of these boys has a hand pressed against his cheek,
+the picture of tragedy: they weep over the dead Saviour, their anguish
+is indescribable. In the marble version of the same subject in
+London,<a name="FNanchor_200_200" id="FNanchor_200_200"></a><a href="#Footnote_200_200" class="fnanchor">[200]</a> the angels are actually supporting the Christ, who,
+without their maintenance, would fall down. His head is resting
+against one of the children's hands: one of the arms has slipped down
+inanimate, while the other hangs over the shoulder of the second
+angel, a consummate rendering of what is dead: the veins are tumified,
+the skin is shrinking, and the muscles are uncontrolled. This Christ
+is in some ways the more remarkable plastic achievement, though it is
+not so characteristic as the Paduan version. The two reliefs are
+probably coeval, though that in London, with its attendant angels, has
+indications of being rather earlier in date, and almost shows the hand
+of Michelozzo in one or two details. But the head of Christ, with its
+short thin beard, and the hair held back by a corded fillet, is
+similar to much that is exclusively Paduan. The Entombment, a very
+large marble relief, consists of eight life-sized figures, four of
+whom are lowering the body into the sepulchre. Here for the first time
+we have that frenzied and impassioned scene which became so common in
+Northern Italy. The Entombment on the St. Peter's Tabernacle is
+insipid by the side of this, where grief leads the Magdalen to tear
+out thick handfuls of her hair; others throw up their hands as they
+abandon<span class="pagenum"><a name="Page_166" id="Page_166">[Pg 166]</a></span> themselves, as they scream in ungovernable sorrow. It is a
+riot of woe, and the more solemn figures who are engaged with the dead
+body have grown grey with care. This relief dates a new departure: the
+Entombment and other episodes of the Passion henceforward lose their
+calm emblematic character, and are fraught with tragedy and gloom.
+Donatello's relief became the prototype for the Bellini, for Mantegna,
+and a host of artists who, without, perhaps, having seen the original,
+drew their inspiration from what it had already inspired. For a while
+this intensification of the last scenes of Christ's life bore good
+fruit for art, especially in the northern provinces: but after a
+certain point nervous exhaustion ensued and produced a kind of
+hysteria, where the Magdalen's tears must end in convulsive laughter,
+and where the tragedy is so demonstrative that the solemn element is
+utterly lost.<a name="FNanchor_201_201" id="FNanchor_201_201"></a><a href="#Footnote_201_201" class="fnanchor">[201]</a> The profound pathos and teaching of the earlier
+scenes were exchanged for what was theatrical. But Tragedy always held
+a place in Italian, or rather in Christian art: it was out of place in
+antiquity. The smiling and perennial youth of the gods, their
+happinesses, loves, and adventures, gave relatively small scope for
+the personal aspects of tragedy. There was no need for vicarious or
+redemptive suffering: what pain existed, and they rarely expressed it
+in marble, was human in its origin and punitive in effect: Icarus,
+Niobe, Laocoon, Prometheus; and even here the proprieties of good
+taste imposed strict limits, beyond which the portrayal of tragedy
+could not go<span class="pagenum"><a name="Page_167" id="Page_167">[Pg 167]</a></span> without violating unwritten laws. It had to occupy a
+secondary place in their art: the dying gladiator was merely a broken
+toy tossed aside. Their tragedies were largely limited to Nemesis, the
+Moirai, the Erinnydes, and lower forms, such as harpies. But
+occasionally one gets a breath of medi&#230;valism and its haunting
+mysteries. The Sleeping Fury at Rome, for instance,<a name="FNanchor_202_202" id="FNanchor_202_202"></a><a href="#Footnote_202_202" class="fnanchor">[202]</a> where sleep
+steals in during a moment of respite from torture, is superb, and,
+moreover, stands almost alone in its presentment of a certain
+impelling tragedy, which, with the advent of Christianity, became an
+integral and dominating feature of its art.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE47">
+<img src="images/image47.jpg" width="306" height="400" alt="Super Altar" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SUPER ALTAR BY GIOVANNI DA PISA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>EREMITANI CHURCH, PADUA</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Donatello's Assistants.</div>
+
+<p>The variety of workmanship at Padua would be an infallible proof that
+Donatello had the assistance of a number of disciples, even if we had
+no documentary evidence on the point. Bandinelli refers to their
+numbers: when needing help he wrote to the Grand Duke saying that
+Donatello always had eighteen or twenty assistants, without whose aid
+it would have been impossible for him to have made the Paduan
+altar.<a name="FNanchor_203_203" id="FNanchor_203_203"></a><a href="#Footnote_203_203" class="fnanchor">[203]</a> But we also possess bills, contracts, and schedules, in
+which we can find the names of Donatello's <i>garzoni</i>. The work, it
+must be remembered, was not wholly confined to sculpture: among the
+earliest recorded payment to Donatello is that for structural work on
+the Loggia (30, iii. 1444). Giovanni Nani of Florence was already
+engaged there (3, iii. 43) as a sort of master mason on Donatello's
+arrival: he made the marble pedestal for the crucifix (19, vi. 47),
+and several others are mentioned in a subordinate capacity,<span class="pagenum"><a name="Page_168" id="Page_168">[Pg 168]</a></span> such as
+Niccolo Cocaro (23, iv. 49), Meo and Pipo of Florence (30, iv. 49),
+Antonio of Lugano, <i>taia pria</i> (12, v. 49); Bartolomeo of Ferrara went
+to Valstagna to open up the quarry&#8212;<i>una montagna de lo alabastro</i>
+(13, viii. 46). Employment was also given to Jacomo, a goldsmith (9,
+v. 48), to Squarcione the painter (21, xi. 47), to Moscatelo, the
+maker of majolica (v. 49), and to Giovanni da Becato, who made a metal
+grille behind the altar. Francesco del Mayo and Andrea delle Caldiere
+were the chief bronze casters; a dozen or fifteen other names are
+recorded. None of these can have had much influence on the sculpture
+itself; but there were men of greater calibre, Giovanni da Pisa,
+Urbano da Cortona, Antonio Celino of Pisa, and Francesco Valente of
+Florence. Though called <i>garzoni</i> and <i>disipoli</i> of Donatello (June
+and Sept. 47), they soon became men of trained capacity, and were
+specifically mentioned in some of the contracts. Thus it appears that
+each was entrusted with one of the evangelist's symbols; they were
+also largely responsible for the bronze choristers (27, iv. 46). Their
+whims and idiosyncrasies are visible in many particulars: in the halos
+for instance. The gospel emblems all have halos, likewise most of the
+singing children, whereas there are none on the Madonna and the great
+statues of canonised saints on the altar. But it is impossible here to
+enter upon the most interesting problem of their respective shares on
+the altar sculpture, and how far they were independent of Donatello
+beyond the chiselling and polishing of the bronze; the subject would
+need discussion at too great length. It is, however, worth while to
+refer to some of their work, for which they were exclusively
+responsible. Thus the Fulgosio tomb in the Santo, and the superaltar
+in the Eremitani at Padua<span class="pagenum"><a name="Page_169" id="Page_169">[Pg 169]</a></span> (though much disfigured by paint), show
+that Giovanni da Pisa was influenced by Donatello to a remarkable
+degree. The composition of the altar consists of a broad relief of the
+Madonna with three saints on either side of her: below it is a
+<i>predella</i> divided into three panels; above, a frieze of dancing
+children similar to those on the pulpits of San Lorenzo. The
+composition is crowned by a tympanum and <i>putti</i> suggested by
+Donatello's Annunciation. Several of the larger figures might almost
+be the work of Donatello, though the personality of Giovanni makes
+itself felt throughout. Urbano of Cortona was another interesting man.
+He received a commission to decorate the chapel of the Madonna delle
+Grazie in the Sienese Cathedral,<a name="FNanchor_204_204" id="FNanchor_204_204"></a><a href="#Footnote_204_204" class="fnanchor">[204]</a> and he had to make the Symbols
+of the Evangelists: <i>nel fregio ... si debi fare IIII. evangelisti in
+forma d'animali</i>. Donatello himself, <i>excellentissimus sculptor, seu
+magister sculture</i>,<a name="FNanchor_205_205" id="FNanchor_205_205"></a><a href="#Footnote_205_205" class="fnanchor">[205]</a> was commissioned later on to work in this
+chapel; but there can be no doubt that the angel of St. Matthew, now
+preserved in the Opera del Duomo,<a name="FNanchor_206_206" id="FNanchor_206_206"></a><a href="#Footnote_206_206" class="fnanchor">[206]</a> is the work of Urbano. It is
+the identical design of the emblem on the Paduan altar, pleasant in
+its way, but differing in all the material elements of charm; but it
+is an important document in that it shows a further stage in the
+evolution of Donatello through the hand of a painstaking pupil. Of
+Celino and Valente our knowledge is less&#8212;perhaps because there was
+never any friction between the master and his assistants, which gives
+so unenviable a record to the relation of Michael Angelo with his
+pupils.<a name="FNanchor_207_207" id="FNanchor_207_207"></a><a href="#Footnote_207_207" class="fnanchor">[207]</a> The two inscriptions<span class="pagenum"><a name="Page_170" id="Page_170">[Pg 170]</a></span> on the background of the Miracle of
+the Miser's Heart, read as follows: &quot;S. ANT. DI GIOV DE SE E
+SUOR&#362;&quot;: and &quot;<span lang="el" title="Transcriber's Note: S with macron">&#348;</span> DI PIERO E BARTOLOMEO E SU&#332;.&quot; They have been
+variously interpreted. Some have suggested that they indicate the
+names of donors, or that the letter s means <i>sepulchrum</i>, and that
+they are in the nature of epitaphs. It would seem more probable that
+they are signatures of those who were occupied in giving final touches
+to the chiselling of the background.</p>
+
+<hr style="width: 45%;" />
+
+<table border="0" cellpadding="5" cellspacing="0" summary="illustrations">
+  <tbody>
+  <tr>
+    <td><a name="IMAGE48"><img src="images/image48.jpg" width="311" height="400" alt="Tomb of Giovanni" /></a></td>
+    <td><a name="IMAGE49">
+    <img src="images/image49.jpg" width="318" height="400" alt="Tomb of Gen. Gattamelata" /></a></td>
+  </tr>
+  <tr>
+    <td>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>TOMB OF GIOVANNI,<br />SON OF GENERAL GATTAMELATA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>PADUA</b></span></p>
+
+
+    </td>
+    <td>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>TOMB OF<br />GENERAL GATTAMELATA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SANT' ANTONIO, PADUA</b></span></p>
+
+
+    </td>
+  </tr>
+</tbody>
+</table>
+
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE50"><img src="images/image50.jpg" width="500" height="163" alt="Shrine of St. Justina" /></a></p>
+
+
+<p style="text-align: center"><b>SHRINE OF ST. JUSTINA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>LONDON</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Bellano and the Gattamelata Tombs.</div>
+
+<p>One other sculptor, Bellano, is said by Vasari to have been so much
+affected by Donatello's influence that the work of the two men was
+often indistinguishable. This places Bellano too high. Scardeone, it
+is true, says he was <i>mirus c&#339;latura</i>;<a name="FNanchor_208_208" id="FNanchor_208_208"></a><a href="#Footnote_208_208" class="fnanchor">[208]</a> but Gauricus is more
+accurate in calling him <i>ineptus artifex</i>.<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a> He was really a
+lugubrious person, though on rare occasions he made a good thing,
+such, for instance, as the statuette of St. Jerome, belonging to M.
+Gustave Dreyfus. But his large bas-relief of St. Anthony and the
+Mule<a name="FNanchor_210_210" id="FNanchor_210_210"></a><a href="#Footnote_210_210" class="fnanchor">[210]</a> is stiff and laboured. The tomb of Roycelli, the <i>monarcha
+sapientie</i> in the Santo, with its wealth of poverty-stricken
+decoration, shows that Bellano was a man who could work on a large
+scale, but whose sense of fitness and harmony was weak. So also the
+Roccabonella fragments, in spite of a rugged, rough-hewn appearance,
+show an absence of ethical and intellectual qualities; while the fussy
+and breathless reliefs round the choir of the Santo<span class="pagenum"><a name="Page_171" id="Page_171">[Pg 171]</a></span> are farcical in
+several respects. There was another man influenced by Donatello, who
+must be nameless pending further investigation: his style cannot be
+identified with anything on the great altar, but he was a sculptor of
+immense power. He made the so-called shrine of Santa Giustina in
+London,<a name="FNanchor_211_211" id="FNanchor_211_211"></a><a href="#Footnote_211_211" class="fnanchor">[211]</a> and the two Gattamelata monuments in the Santo. These
+tombs are very simple, consisting of the effigies of the two
+Condottieri, fully armed, but with bared heads. Below is a broad stone
+relief of children holding the scroll between them, as on the Coscia
+tomb in Florence. Above is a lunette containing painting, the whole
+composition being framed by a severe moulding, and surmounted by the
+family crest and badge. They are most remarkable. The two recumbent
+figures lie calm and peaceful: they show the ennobling aspect of
+death, the belief in a further existence. This sculptor with his
+sensitive touch makes us realise the migration. To &quot;make the good end&quot;
+was, indeed, a product of Christianity: antiquity was content if a man
+parted from life &quot;handsomely.&quot; Greek art can, of course, show no sign
+of the Christian virtues of death. Like the Egyptians, their object
+was to present the dead as still alive, even where the aid of fiction
+had to be invoked. To them sleep and death are often
+indistinguishable; often again one is left in doubt as to which of the
+figures on a funeral relief represents the departed. With death the
+human body, having ceased to be the home of life, ceased also to be a
+welcome theme of art. These two Gattamelatas, father and son, have
+fought the good fight, and in the carved effigy acquire a statuesque
+repose which is full of dignity and pathos. The famous warrior of
+Ravenna, Guido Guidarelli as he is<span class="pagenum"><a name="Page_172" id="Page_172">[Pg 172]</a></span> called, though of a later date, is
+fashioned in the same spirit; showing, moreover, certain peculiarities
+in the armour which one notices in the tombs at Padua. The d'Alagni
+monument in S. Domenico at Naples, and a tomb in the Carmine of Pisa,
+are similar in respect of sentiment. So, too, is the shrine of Santa
+Giustina in London, of which the details as well as the organic
+treatment leave no doubt as to its authorship, so closely does it
+resemble the tomb of Giovanni Gattamelata. It is a work of singular
+refinement and beauty. We see the recumbent figure of the saint on the
+fa&#231;ade of a sarcophagus, at either side of which are little angels
+made by the same hand and at the same date as those on Giovanni's
+tomb. Santa Giustina is modelled in low-relief; the sculptor seems to
+draw in the stone, and the drapery is like linen: not a blanket or
+counterpane, but some thin clinging material which is moulded to the
+form below. In some ways this precious work is analogous to the more
+famous bas-relief belonging to the Earl of Wemyss, the St. Cecilia
+which has been ascribed to Donatello. This wonderful thing is not well
+known: it has been seldom exhibited, and the photograph by which it is
+usually judged is taken from a reproduction moulded a generation ago.
+The original, of rather slaty Lavagna stone, has never been
+photographed, and the cast, many thousands of which exist, entirely
+fails to show the intangible and diaphanous qualities of the original.
+The widespread popularity of the St. Cecilia would (if possible) be
+enhanced were we more familiar with the genuine work itself. It is
+certainly one of the most accomplished examples of Italian plastic
+art; not, indeed, by Donatello himself, for there is a softness and
+glamour which cannot be associated with his chisel. But it has the
+unequalled<span class="pagenum"><a name="Page_173" id="Page_173">[Pg 173]</a></span> tenderness and grace for which the Gattamelata tomb is
+so notable, placing its nameless author in the highest ranks of
+Italian sculpture.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE51">
+<img src="images/image51.jpg" width="306" height="400" alt="Gen. Gattamelata" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>GENERAL GATTAMELATA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>PADUA</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Gattamelata.</div>
+
+<p>Erasmo Narni, General Gattamelata, died in 1443, and the Venetians,
+whom he had honourably served, granted the privilege of a site in the
+tributary town of Padua for the monument, the cost of which was borne
+by the family of the dead Condottiere. Donatello had to reconstruct
+the anatomy of a horse on a colossal scale. He was faced by the
+formidable task of making the first equestrian bronze statue erected
+in Italy during the Renaissance, and no model existed except the
+antique statue of Marcus Aurelius at Rome. Donatello was, however,
+familiar with the four horses on the fa&#231;ade of San Marco at Venice. He
+undertook to complete the Gattamelata monument by September 1453, but
+the bulk of the casting was finished as early as 1448, though the
+chiselling and chasing of the bronze required further work for two or
+three years. The statue was placed on the pedestal before the agreed
+date, and a conference was held at Venice to settle the price.<a name="FNanchor_212_212" id="FNanchor_212_212"></a><a href="#Footnote_212_212" class="fnanchor">[212]</a>
+There were four assessors on either side, and it was finally agreed
+that the total payment should be a sum equivalent to about two
+thousand guineas in our own day. Donatello does not seem to have been
+hampered by his lack of experience. The work is adroitly handled, the
+technical difficulty of welding the large pieces of bronze is
+successfully overcome, and the metal is firm and self-supporting.
+There are faults, of course, though the fact that the horse ambles
+need not be<span class="pagenum"><a name="Page_174" id="Page_174">[Pg 174]</a></span> considered an error. But the relative proportions of the
+horse and rider are not quite accurately preserved, Gattamelata being,
+if anything, rather below the right scale. The monument is, however,
+so massive and grandiose that criticism seems out of place; indeed, in
+the presence of the statue one feels that everything is subordinated
+to the power and mastery of Gattamelata himself. The general is
+bareheaded, and the strong courageous face is modelled with directness
+and energy. The gesture is commanding, and he rides easily in the
+saddle. Colleone's statue at Venice is superior in many ways: yet the
+radical distinction between them is that whereas Gattamelata is the
+faithful portrait of a modest though successful warrior, it must be
+confessed that Verrocchio makes an idealised soldier of fortune, full
+of bravado and swagger, a <i>Malbrook s'en va-t-en guerre</i> of the
+Quattrocento. But, striking as the contrast of sentiment is,
+noticeable alike in the artist and his model, these two statues remain
+the finest equestrian monuments in the world, their one possible rival
+being Can Grande at Verona. Donatello has decorated Gattamelata's
+saddle and armour with a mass of delicate and vivacious detail, which
+modifies the severity without distracting the eye. The <i>putti</i> which
+act as pommels to the saddle are delightful little figures, and the
+damascened and chased fringes of the armour are excellent. Moreover,
+the armour does not overweight the figure. The horse, of rather a
+thick and &quot;punchy&quot; breed, is well suited to carry a heavy load; he is
+full of spirit, and is neighing and chafing, as the old critics
+pointed out. An enormous wooden horse, some twenty-four feet long, is
+preserved in the Sala della Raggione at Padua. It used to belong to
+the Capodalista family, and has been considered Donatello's<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span> model
+for the Gattamelata charger. This is unlikely, and it was more
+probably used in some procession, being ridden by a huge emblematic
+figure. It is improbable that Donatello should have done more than
+sketch the design; but the head of the horse is admirable, with the
+feathery ears and bushy topknot which one finds in the Venice
+quadriga, on Gattamelata's steed, and on the colossal bronze head of a
+horse now preserved in the Naples Museum. This used to be considered
+an antique, but it is now established beyond all question that
+Donatello made it; and it was presented in 1471 to Count Mataloni by
+Lorenzo de' Medici. It is an interesting work, defective in some
+places, and treated similarly to classical examples; indeed, Donatello
+was obviously influenced in all his equine statuary by the most
+obvious classical horses at his command, namely, those at Venice. He
+does not seem to have taken ideas from the Marcus Aurelius, which he
+had not seen for upwards of ten years when commissioned to make the
+Gattamelata. The base of the statue is simple, but scarcely worthy of
+the monument it supports. The pedestal made by Leopardi for the
+Colleone monument is both more decorative and dignified. On
+Donatello's pedestal there are two marble reliefs of winged boys
+holding the general's helmet, badge and cuirass. The reliefs on the
+monument are copies of the maimed originals now preserved in a dark
+passage of the Santo cloister. There must be many statues elsewhere,
+now taken for originals, which are nothing more than replicas of what
+had gradually perished. If one closely examines the sculpture on some
+of the church fa&#231;ades&#8212;Siena Cathedral, for instance&#8212;one finds that
+most of the statues are only held together by numberless metal ties
+and clamps; and<span class="pagenum"><a name="Page_176" id="Page_176">[Pg 176]</a></span> one may safely assume that many of those in really
+good condition have been placed there at later dates.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE52">
+<img src="images/image52.jpg" width="304" height="400" alt="Colleone" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>COLLEONE</b></p>
+
+<p style="text-align: center"><span class="caption"><b>VENICE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Smaller Reliefs and Plaquettes.</div>
+
+<p>The Gattamelata reliefs seem to be sixteenth-century work. They show a
+detail of which Donatello and his scholars were fond, namely, the
+Medusa's head. It reappears on the Martelli Patera<a name="FNanchor_213_213" id="FNanchor_213_213"></a><a href="#Footnote_213_213" class="fnanchor">[213]</a> and on the
+sword-hilt in the Royal Armoury at Turin. The former has been ascribed
+to Donatello, but the attribution is untenable. It is a bronze
+medallion of a Satyr and Bacchante, executed with much skill, but not
+recalling the spirit or handling of Donatello. It is an admirable
+example of the bronze-work which became popular in Northern Italy, to
+which Donatello gave the initial impetus, and which soon became
+ultra-classical in style. The sword-hilt is more interesting, and it
+is signed &quot;Opus Donatelli Flo.&quot; Some of the detail has a richness
+which might suggest rather a later date; but the general outline,
+especially the small crouching <i>putti</i>, was, no doubt, designed by the
+master. The history of this curious and unusual specimen is unknown,
+and it is outside Donatello's sphere of activity. Michael Angelo, it
+may be remembered, also had the caprice of making a sword for the
+Aldobrandini family. The manufacture of plaquettes, small bronze
+plates which were widely used for decorating caskets, inkstands,
+candlesticks, &amp;c., became a specialised art; and some of these dainty
+reliefs are possibly made from Donatello's own designs. There are,
+however, a few larger bronzes of greater importance in which his
+personality was able to assert itself more freely than in the reduced
+plaquettes. But the work<span class="pagenum"><a name="Page_177" id="Page_177">[Pg 177]</a></span> of scholars and imitators has been
+frequently mistaken for Donatello's own productions. Thus the Ambras
+(Vienna) relief of the Entombment, with its exaggerated ideas of
+classical profile, must be the work of a scholar. The Sportello at
+Venice<a name="FNanchor_214_214" id="FNanchor_214_214"></a><a href="#Footnote_214_214" class="fnanchor">[214]</a> also shows later Renaissance decoration in its rich
+arabesques, though two hands seem to have been employed&#8212;the four
+central <i>putti</i> and the two angels being more Donatellesque than the
+remainder. The relief of the Flagellation in Paris<a name="FNanchor_215_215" id="FNanchor_215_215"></a><a href="#Footnote_215_215" class="fnanchor">[215]</a> is more
+important, as we have a rugged and severe treatment both in the
+subject and its execution: but the summary treatment of such details
+as the hair makes one doubtful if Donatello can have been wholly
+responsible. A somewhat analogous Flagellation in Berlin<a name="FNanchor_216_216" id="FNanchor_216_216"></a><a href="#Footnote_216_216" class="fnanchor">[216]</a> is the
+work of a clever but halting plagiarist. He has inserted a
+Donatellesque background of arches showing the lines of stonework, and
+a pleasant detached girl who reminds us of the figure on the Siena and
+St. George reliefs. But the imitator's weak hand is betrayed by the
+anatomy of the three principal figures. The positions are those of
+force and energy, but there is no tension or muscular effort, and
+there is no vestige of vigour in the rounded backs and soft limbs.
+Even if Donatello furnished the original sketch, it is quite
+impossible that he should have executed or approved the carving.
+Madame Andr&#233;'s Martyrdom of St. Sebastian is work in which the
+finishing-touches were probably added by a pupil, but this striking
+composition shows dramatic qualities which one must associate with
+Donatello himself. So also the tondo Madonna belonging to M. Gustave
+Dreyfus, in which the<span class="pagenum"><a name="Page_178" id="Page_178">[Pg 178]</a></span> figures are ranged behind a balustrade, making
+the &quot;garden enclosed&quot;&#8212;a popular symbolical treatment of the Virgin
+and Child&#8212;is doubtless from one of Donatello's designs.<a name="FNanchor_217_217" id="FNanchor_217_217"></a><a href="#Footnote_217_217" class="fnanchor">[217]</a> Though
+imperfect, the London Deposition or Lamentation<a name="FNanchor_218_218" id="FNanchor_218_218"></a><a href="#Footnote_218_218" class="fnanchor">[218]</a> is an important
+work, and has a value as showing the methods of fastening figures in
+relief on to the foundation of the background, though in this case the
+bulk of the background is missing. Three other reliefs should be
+mentioned, all representing Christ on the Cross. Of these, the Berlin
+example,<a name="FNanchor_219_219" id="FNanchor_219_219"></a><a href="#Footnote_219_219" class="fnanchor">[219]</a> though sadly injured since its acquisition for the
+museum, is notable; being, in fact, a genuine sketch by Donatello
+himself, and in a degree comparable to the clay study of the same
+subject in London.<a name="FNanchor_220_220" id="FNanchor_220_220"></a><a href="#Footnote_220_220" class="fnanchor">[220]</a> The bronze relief, belonging to Comte Isaac de
+Camondo in Paris, is a most remarkable work of the Paduan period.
+Donatello has succeeded in conveying the sense of desolating tragedy
+without any adventitious aid of violence or movement. The whole thing
+is massive, and treated with a studied simplicity which concentrates
+the silence and loneliness of the scene. It is superb, and superior to
+a varied treatment of the same subject in the Bargello. In this
+well-known relief the crowded scene is full of turmoil and confusion.
+In the foreground are the relatives and disciples of Christ. Many
+soldiers are introduced, some of whom closely resemble the tall
+men-at-arms in Mantegna's frescoes at Padua. Donatello's hand is
+obvious in the angels and in the three crucified figures, which are
+modelled with masterly conviction. The rest of the composition has<span class="pagenum"><a name="Page_179" id="Page_179">[Pg 179]</a></span>
+been ruthlessly gilded and chased until the statuesque lines are lost
+in a mass of tiresome detail; which is regrettable, for the conception
+is fine.</p>
+
+<hr style="width: 45%;" />
+
+<table border="0" cellpadding="10" cellspacing="0" summary="illustrations">
+  <tbody>
+  <tr>
+    <td><a name="IMAGE53">
+    <img src="images/image53.jpg" width="298" height="400" alt="Madonna and Child" /></a></td>
+    <td><a name="IMAGE54">
+    <img src="images/image54.jpg" width="361" height="400" alt="Pazzi Madonna" /></a></td>
+  </tr>
+  <tr>
+    <td>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MADONNA AND CHILD</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SIENA CATHEDRAL</b></span></p>
+
+
+    </td>
+    <td>
+
+
+<p style="text-align: center"><span class="caption"><i>W.A. Mansell</i></span></p>
+
+<p style="text-align: center"><b>&quot;PAZZI&quot; MADONNA</b></p>
+
+<p style="text-align: center"><span class="caption"><b>BERLIN</b></span></p>
+
+
+    </td>
+  </tr>
+</tbody>
+</table>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Madonnas.</div>
+
+<p>A whole treatise would be required to describe all the Madonnas which
+have been attributed to Donatello. Within the limits of this volume
+the discussion must be confined to certain groups which are directly
+related to him, ignoring a much larger number of subordinate interest.
+The tendency is to ascribe to Donatello many more than he can possibly
+have made&#8212;varying inversely from the attitude of modern criticism,
+which has asserted that not twenty paintings by Giorgione have
+survived. Hundreds of artists must have made these Madonnas, of which
+only a small minority are in bronze or marble. Many names of sculptors
+are recorded to whom we can only attribute one or two works; the
+remainder being generically ascribed to the school of some great man,
+and often enough to the great man himself. The bulk of these reliefs
+of the Madonna and Child are in stucco, terra-cotta, carta pesta and
+gesso&#8212;cheap malleable materials which were easily and rapidly worked:
+the reliefs were manufactured in great numbers for the market. Then
+again, well-known works were cast, and small differences in colour and
+finish often gave them the semblance of original work. Vasari says
+that almost every artist in Florence possessed a cast of Pollaiuolo's
+battle-piece.<a name="FNanchor_221_221" id="FNanchor_221_221"></a><a href="#Footnote_221_221" class="fnanchor">[221]</a> Such facsimiles are eagerly sought after nowadays,
+and are treated as genuine works of the sculptor. It must also be
+remembered that during the last decades there has been a systematic
+multiplication<span class="pagenum"><a name="Page_180" id="Page_180">[Pg 180]</a></span> of these reliefs, and that forgeries can be found in
+most of the great collections of Europe. The first difficulty
+encountered in trying to discept between Donatello and his school, is
+that authenticated examples from which to make our inductions are very
+rare. Donatello certainly made Madonnas in relief: Vasari mentions
+half a dozen; Neroccio, the Sienese sculptor, possessed <i>una Madonna
+di gesso di Donatello</i>.<a name="FNanchor_222_222" id="FNanchor_222_222"></a><a href="#Footnote_222_222" class="fnanchor">[222]</a> There are Madonnas on the tombs of Pope
+John and Cardinal Brancacci. The latter shows no trace of Donatello's
+craft, and the former is of indifferent merit, and was certainly not
+made by Donatello alone. There are two Madonnas at Padua, one the
+large altar statue, the other a tiny relief three inches in diameter
+on one of the bronze Miracle panels. The sources of stylistic data are
+therefore most scanty. One may say generally that in the authenticated
+Virgins as well as in the other heads of women, Donatello makes a
+marked nasal indenture, thus separating him from those later men who
+drew their heads with the classical profile, showing a straight and
+continuous line from the forehead down the nose. But even this cannot
+be pressed too far. As regards the Christ, Donatello seems to preserve
+the essence and immaturity of childhood. His treatment of the Child is
+never hieratic, and it is always full of warm human sentiment. The
+Paduan relief, for instance, is almost a <i>genre</i> representation of a
+mother and child, domestic and intimate, with nothing but the halos to
+indicate the higher meaning of the theme. Having said so much, we come
+to the other Madonnas which are assigned on various grounds to
+Donatello: those known as the Madonnas Pazzi, Orlandini, Siena
+Cathedral, Pietra Piana;<span class="pagenum"><a name="Page_181" id="Page_181">[Pg 181]</a></span> the London oval, the Madonna of the Rose,
+the Capella Medici group, and the Piot and Courajod Madonnas in the
+Louvre. All of these have one or more features which conflict with our
+ideas of Donatello. It is impossible to say that any one of them must
+inevitably be by Donatello himself; none of them carry their own
+sign-manual of authenticity. The Pazzi Madonna in Berlin<a name="FNanchor_223_223" id="FNanchor_223_223"></a><a href="#Footnote_223_223" class="fnanchor">[223]</a> is now
+generally ascribed to Donatello himself, and certainly no more
+grandiose version of the subject exists. The Virgin is holding up the
+Child close to her beautiful face; she broods over him, and the
+countenance is full of foreboding. The solemnity of the large Paduan
+Madonna is visible here, and it is only made to apply to the Virgin,
+for the Child is a typical <i>bambino</i>. So, too, in the relief outside
+the transept door of Siena Cathedral we find this grim careworn
+expression and the sense of impending drama: the massacre of the
+Innocents is still to come. This relief, a marble <i>tondo</i>, is in such
+abnormally perfect condition that one wonders if it may not be a later
+<i>replica</i> of some original which the atmosphere disintegrated.
+Donatello must have provided the design; at any rate, it is difficult
+to suggest an alternative name. The four winged cherubs are, however,
+lifeless and ill-drawn, while the Christ is more like some of the
+<i>putti</i> on the Aragazzi reliefs than Donatello's typical boy. The
+share of Michelozzo in the reliefs ascribed to Donatello is larger
+than has been hitherto acknowledged. The Orlandini Madonna<a name="FNanchor_224_224" id="FNanchor_224_224"></a><a href="#Footnote_224_224" class="fnanchor">[224]</a> yearns
+like a tigress as she holds up her child and gazes into its face; here
+again we have a<span class="pagenum"><a name="Page_182" id="Page_182">[Pg 182]</a></span> composition for which Donatello must have been
+primarily responsible, though the full profile is attributable to
+inefficient handling of the marble rather than to deliberate
+intention. Signor Bardini's version of this relief has a delicacy
+lacking in the original; one touch of colour removes a certain
+awkwardness of the profile. The Madonna in the Via Pietra Piana at
+Florence belongs to a different category. Here again the design is
+Donatellesque, but the face of the Madonna has a dull and vacant look;
+not only is it without the powerful modelling of the Pazzi or Siena
+reliefs, but it shows none of the sentiment for which those two
+Madonnas are so remarkable. There are several reproductions in Berlin
+and London,<a name="FNanchor_225_225" id="FNanchor_225_225"></a><a href="#Footnote_225_225" class="fnanchor">[225]</a> all differing from the Florentine version in the
+drapery of the head-dress. Closely related to this Madonna is another
+composition which only exists in soft materials.<a name="FNanchor_226_226" id="FNanchor_226_226"></a><a href="#Footnote_226_226" class="fnanchor">[226]</a> The Virgin, with
+long wavy hair, looks downwards towards her Child, who is looking
+outwards to the spectator. This is a work of merit, with something
+attractive in the anxious and clinging attitude of the Madonna. The
+large clay Madonna and Child in London,<a name="FNanchor_227_227" id="FNanchor_227_227"></a><a href="#Footnote_227_227" class="fnanchor">[227]</a> the Christ sitting in a
+chair and the Virgin with hands joined in worship, has been the
+subject of much controversy. There are good grounds for doubting its
+authenticity. The angular treatment of the head and a dainty roundness
+of the wrist often indicate that Bastianini had a share in this class
+of work.<a name="FNanchor_228_228" id="FNanchor_228_228"></a><a href="#Footnote_228_228" class="fnanchor">[228]</a> This relief has all the<span class="pagenum"><a name="Page_183" id="Page_183">[Pg 183]</a></span> merits and demerits of the
+circular Piot Madonna in the Louvre.<a name="FNanchor_229_229" id="FNanchor_229_229"></a><a href="#Footnote_229_229" class="fnanchor">[229]</a> Here, too, the handling of
+Bastianini has been detected, though there is a clumsiness which is
+seldom seen in the productions of that distinguished artist. The frame
+and the background, which are integral features of the composition,
+can leave no doubt as to the origin of this work. But the Piot relief
+has an interest which the London terra-cotta cannot boast, for a
+fifteenth-century original from which the copyist worked is in
+existence, now belonging to Signor Bardini. This is a tondo Madonna of
+uncoloured stucco, of no particular value in itself; but it is the
+model from which the Piot sophistication was contrived; or else it is
+a cast from the lost original of marble. It reveals all the whims of
+the copyist: the treatment of the hands, the lissome tissue of the
+drapery, and the angular structure of the skull. A less interesting
+forgery is the marble Madonna in London.<a name="FNanchor_230_230" id="FNanchor_230_230"></a><a href="#Footnote_230_230" class="fnanchor">[230]</a> Three reproductions of
+the lost Donatellesque original exist, the Berlin copy<a name="FNanchor_231_231" id="FNanchor_231_231"></a><a href="#Footnote_231_231" class="fnanchor">[231]</a> being in
+stucco, that at Bergamo terra-cotta. Signor Bardini has an effaced and
+poor copy of the same relief, in which the hand of the Madonna is
+obviously meant to be holding something; but the stucco has been much
+rubbed away and one cannot tell the original intention of the
+sculptor. But the two other genuine versions are in better condition
+and supply the answer, showing that the Virgin held a large rose
+between her fingers. The man who made the London relief copied from
+the incomplete version, and carved an empty meaningless hand with the
+fingers grasping something which does not exist.</p>
+
+<p><span class="pagenum"><a name="Page_184" id="Page_184">[Pg 184]</a></span></p>
+<p style="text-align: center">&#160;</p>
+
+<p style="text-align: center"><a name="IMAGE55">
+<img src="images/image55.jpg" width="305" height="400" alt="Madonna and Child" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>MADONNA AND CHILD</b></p>
+
+<p style="text-align: center"><span class="caption"><b>LOUVRE (NO. 389), PARIS</b></span></p>
+
+<p style="text-align: center">&#160;</p>
+
+<p>The little oval Madonna in London<a name="FNanchor_232_232" id="FNanchor_232_232"></a><a href="#Footnote_232_232" class="fnanchor">[232]</a> is a work of much interest. It
+is coloured stucco, and Dr. Bode, who has dated it as early as
+1420-30, believes it to be the first example of the <i>Santa
+conversazione</i> in Italian plastic art. A variant belonging to Dr.
+Weisbach in Berlin is of equal importance, and both are probably
+original works and not casts. The Berlin relief is not so thickly
+painted as the London medallion, and shows signs of the actual
+modelling. There are contradictions in these valuable works. The
+music-making angels are like a figure on the Salome relief at Siena:
+but they are also related to Luca della Robbia's reliefs on the
+Campanile, and to a terra-cotta Madonna in London<a name="FNanchor_233_233" id="FNanchor_233_233"></a><a href="#Footnote_233_233" class="fnanchor">[233]</a> (which reminds
+one of the Pellegrini Chapel); Matteo Civitale uses a similar type on
+the tomb of St. Regulus at Lucca; while the crowned saint of the
+London version was copied at a later date on a well-known plaquette
+forming the lid of a box of which several examples exist.<a name="FNanchor_234_234" id="FNanchor_234_234"></a><a href="#Footnote_234_234" class="fnanchor">[234]</a> The
+figure of the Madonna and Child also suggests another hand; and with
+the exception of the stone relief in the Louvre, and another derived
+from it at Padua,<a name="FNanchor_235_235" id="FNanchor_235_235"></a><a href="#Footnote_235_235" class="fnanchor">[235]</a> it is the only case in which the Virgin is not
+shown in profile. These latter works are bold and vigorous, and must
+be ultimately referred to Donatello, the head of the Madonna being
+rendered by fluent and precise strokes of the chisel. A bronze relief
+in the Louvre (No. 390), which came from Fontainebleau, has
+Donatellesque motives; but the spiral coils of hair, and still more
+the fact that the Virgin's<span class="pagenum"><a name="Page_185" id="Page_185">[Pg 185]</a></span> breasts are hammered into the likeness
+of <i>putti</i>'s faces&#8212;wholly alien to Donatello's serious
+ideas&#8212;sufficiently prove it to belong to the later Italian school
+which flourished at the French Court. The Courajod Madonna (Louvre,
+389) is modestly called a schoolpiece; but it is a work of first-class
+importance, for which Donatello is to be credited. This is a very
+large relief in painted terra, the Madonna being in profile to the
+left, with a wan and saddened expression. The arm is stiff and wooden,
+while the undercutting of the profile, like that of the Siena tondo,
+is so pronounced that, when standing close to the wall on which the
+relief is fixed, one can see the Virgin's second eye&#8212;unduly prominent
+and much too near to the nose. This is a needless and distracting
+mannerism, though, of course, the blemish is only noticeable from one
+point of view, being quite invisible as one sees the relief from the
+front, or in a photograph. The Berlin Museum has another large Madonna
+comparable for its scale and rich colouring to the Courajod relief.
+This came from the convent of Santa Maria Maddalena de' Pazzi at
+Florence.<a name="FNanchor_236_236" id="FNanchor_236_236"></a><a href="#Footnote_236_236" class="fnanchor">[236]</a> The Child, draped in swaddling-clothes, stands up
+leaning against the Virgin, who looks downwards. Above them are four
+cherubs, full of character and vivacity, the whole composition being
+typical of Donatello, though naturally enough much of the primitive
+colouring has disappeared during the last four centuries. One other
+group remains to be noticed, founded upon the large marble relief in
+the Capella Medici of Santa Croce.<a name="FNanchor_237_237" id="FNanchor_237_237"></a><a href="#Footnote_237_237" class="fnanchor">[237]</a> We detect Donatello's<span class="pagenum"><a name="Page_186" id="Page_186">[Pg 186]</a></span> ideas,
+but no sign of his handiwork: neither was he responsible for the
+composition, of which the governing feature is a total absence of his
+masterly occupation of space. There are also florescent details in the
+halos, drapery, and so forth, which are closer to Agostino di Duccio
+than to Donatello. Though not all by the same sculptor, these reliefs
+are most interesting and suggestive, showing the growth and activity
+of a small school which drew some inspiration from Donatello while
+preserving its own individuality. We find an intricate treatment of a
+very simple idea. As compositions, Donatello's Madonnas were always
+simple. But our knowledge of the subject is still empirical, and until
+the problem has been further sifted by the most severe tests of
+research and criticism, our opinions as to Donatello's personal share
+in the array of Madonnas must remain subject to revision.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE56">
+<img src="images/image56.jpg" width="276" height="400" alt="Madonna" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>W.A. Mansell</i></span></p>
+
+<p style="text-align: center"><b>MADONNA (<span class="smcap">Berlin</span>)</b></p>
+
+<p style="text-align: center"><span class="caption"><b>FROM SANTA MARIA MADDALENA DEI PAZZI, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p style="text-align: center"><a name="IMAGE57">
+<img src="images/image57.jpg" width="400" height="286" alt="Side Panel of Pulpit" /></a></p>
+
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>SIDE PANEL OF PULPIT</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SAN LORENZO, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">The Pulpits of San Lorenzo.</div>
+
+<p>Donatello was sixty-seven when he returned from Padua. He seems to
+have been unsettled during his later years, undertaking ambitious
+schemes which he did not execute, and hesitating whether Florence or
+Siena should be the home of his old age. The bronze pulpits of San
+Lorenzo<a name="FNanchor_238_238" id="FNanchor_238_238"></a><a href="#Footnote_238_238" class="fnanchor">[238]</a> are the most important works of this period, and they
+were left unfinished at his death. Donatello was an old man, and the
+work bears witness to his advancing years. Bandinelli says that the
+roughness of the modelling was caused by failing eyesight,<a name="FNanchor_239_239" id="FNanchor_239_239"></a><a href="#Footnote_239_239" class="fnanchor">[239]</a> and it
+is obvious that, notwithstanding<span class="pagenum"><a name="Page_187" id="Page_187">[Pg 187]</a></span> the signs of feverish activity,
+and an apparent desire to get the work finished, much was left
+uncompleted at his death. The pulpits were not even erected until a
+later date; some of the panels were subsequently added in wood, and
+others do not correctly fit into the structural design. But the genius
+of Donatello shines through the finishing-touches of his assistants.
+Drama is replaced by tragedy; and in these panels the concluding
+incidents of the Passion are pictured with intense earnestness and
+pathos. But Donatello would not allow gloom to monopolise his
+composition. The paradox of the pulpits consists in the frieze of
+<i>putti</i> above the reliefs: <i>putti</i> who dance, play, romp, and run
+about. Some of them are busily engaged in moving a heavy statue:
+others are pressing grapes into big cauldrons. The boy dragging along
+a violoncello as big as himself is delightful. The contrast afforded
+by this happy and buoyant throng to the unrelieved tragedy below is
+strikingly unconventional; and the spirit of both portions is so well
+maintained that there is neither conflict of emotion nor sense of
+incongruity. The scenes (including those added at a later date) are
+sixteen in number. Except the later reliefs of St. John, St. Luke, the
+Flagellation, and the Ecce Homo, all are of bronze, upon which more
+care seems to have been expended than on the clay models from which
+they were cast. On the southern pulpit the scene on the Mount of
+Olives shows the foreshortened Apostles sleeping soundly as in
+Mantegna's pictures. Christ before Pilate and Christ before Caiaphas
+are treated as different episodes, in two similar compartments of one
+great hall, separated by a large pier. The Crucifix and the Deposition
+are, perhaps, the most remarkable of all these reliefs: corresponding
+in many ways to works already described; but<span class="pagenum"><a name="Page_188" id="Page_188">[Pg 188]</a></span> not having been
+over-decorated like the Bargello relief, show greater dignity and less
+confusion. The background of the Deposition is flat, but broken here
+and there by faintly-indicated horsemen; naked boys riding on shadowy
+steeds like those vague figures which seem to thread their way through
+some panel of Gothic tapestry. There is an element of <i>stiacciato</i> in
+the Entombment, giving it the air of a mystery rather than of an
+historical fact. The draperies are thin and graceful, suited to the
+softer modelling of the limbs: some of the faces are almost dainty.
+Passing to the northern pulpit, we come to three scenes divided by
+heavy buttresses, but unified by figures leaning against them, and
+overstepping the lateral boundaries of the reliefs. The subjects are
+the Descent into Limbo, the Resurrection and the Ascension. The link
+between the two former is a haggard emaciated Baptist. The Christ is
+old and tired. The people who welcome him in Limbo are old and tired,
+feebly pressing towards the Saviour. The Roman guards lie sleeping,
+self abandoned in their fatigue, while Christ, wearied and suffering,
+steps from the tomb with manifest effort. One feels that the physical
+infirmities of the artist are reflected in these two works, so vivid
+in their presentment of the heavy burden of advanced years. But in the
+Resurrection a fresh note is struck. The bystanders are gathered round
+the Christ, who gives the Benediction. His robe is held back by little
+angels, and the scene is pervaded by an atmosphere of staid and
+decorous calm. Donatello has treated this relief in a more archaic
+spirit. The absence of paroxysms of acute grief, giving a certain
+violence to other parts of the pulpits, makes the contrast of this
+relief more effective; but, even so, this scene of the Ascension is
+fraught with dramatic emphasis.<span class="pagenum"><a name="Page_189" id="Page_189">[Pg 189]</a></span> The Descent of the Holy Ghost is
+less interesting. There is a monotony in the upraised hands, while the
+feeling of devotional rhapsody is perhaps unduly enforced. The relief
+of the Maries at the Tomb, which occupies the western end of this
+pulpit, is almost Pisanesque in the relative size of the people to the
+architecture. There is a combination of trees and pilasters seeming to
+support the long low roof beneath which the incident is portrayed. A
+curious feeling of intimacy is conveyed to the spectator. The pulpits
+are full of classical details&#8212;far more so than in anything we find at
+Padua. It is very noticeable in the armour of the soldiers, in their
+shields bearing the letters S.P.Q.R. and the scorpion, and in the
+antique vases which decorate the frieze. The centaurs holding the
+cartel on which Donatello has signed his name are, of course,
+classical in idea, while the boys with horses are suggested by the
+great Monte Cavallo statues.<a name="FNanchor_240_240" id="FNanchor_240_240"></a><a href="#Footnote_240_240" class="fnanchor">[240]</a> Then, again, the architecture is
+replete with classical forms; in one relief Donatello introduces the
+Column of Trajan. But here, as elsewhere, the classicisms are held in
+check, and never invade or embarrass the dominant spirit of the
+Quattrocento. How far Donatello was helped by assistants must remain
+problematical in the absence of documentary evidence. Bellano and
+Bertoldo were in all probability responsible for a good deal. In the
+relief of St. Laurence it is possible that Donatello's share was
+relatively small.<span class="pagenum"><a name="Page_190" id="Page_190">[Pg 190]</a></span> Moreover, one part of the frieze of children is so
+closely allied to the work of Giovanni da Pisa at Padua, that one is
+justified, on stylistic grounds, in suggesting that he may also have
+been employed. But it is certain that the share of Bellano must have
+been limited to the more technical portion of the work, for there is
+happily nothing to suggest the poverty of his inventive powers. These
+pulpits are very remarkable works; they have an inexhaustible wealth
+of detail in which Donatello can be studied with endless pleasure. The
+backgrounds are full of his architectural fancy, and the sustained
+effort put forth by Donatello is really astonishing. But he was an
+octogenarian, and there are signs of decay. Michael Angelo and
+Beethoven decayed. Dante and Shakespeare were too wise to decay;
+Shelley and Giorgione died too young. But the sculptor's intellect
+must be reinforced by keen eyes and a steady hand: of all artists,
+Nature finds him most vulnerable. Donatello's last work shows the
+fatigue of hand and eye, though the intellect never lost its ardent
+and strenuous activity. There was no petulance or meanness in his old
+age, no decadence; he merely grew old, and his personality was great
+until the end.</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><a name="IMAGE58">
+<img src="images/image58.jpg" width="308" height="400" alt="End Panel of Pulpit" /></a></p>
+
+<p style="text-align: center"><span class="caption"><i>Alinari</i></span></p>
+
+<p style="text-align: center"><b>END PANEL OF PULPIT</b></p>
+
+<p style="text-align: center"><span class="caption"><b>SAN LORENZO, FLORENCE</b></span></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<div class="sidenote">Donatello's Influence on Sculpture.</div>
+
+<p>The influence of Donatello on his three greatest contemporaries was
+small. Jacopo della Quercia always retained his own massive style.
+Luca della Robbia and Ghiberti&#8212;the Euphuist of Italian
+sculpture&#8212;were scarcely affected by the sterner principles of
+Donatello. All four men were, in fact, exponents of distinct and
+independent ideas, and handed on their traditions to separate groups
+of successors. Nanni di<span class="pagenum"><a name="Page_191" id="Page_191">[Pg 191]</a></span> Banco and Il Rosso were, however, impressed
+by Donatello's monumental work, while other sculptors, such as Simone
+Fiorentino, Vecchietta, Michelozzo, Andrea del Aquila and Buggiano
+(besides much anonymous talent) were largely influenced by him. It is
+owing to the fact that Donatello was the most influential man of his
+day that so many &quot;schoolpieces&quot; exist.<a name="FNanchor_241_241" id="FNanchor_241_241"></a><a href="#Footnote_241_241" class="fnanchor">[241]</a> The influence on his
+successors is less easily determined, except so far as concerns the
+men who worked for him at Padua, together with Riccio, the most
+skilful bronze caster of his day, who indirectly owed a good deal to
+Donatello. But Urbano da Cortona and his colleagues produced little
+original work after their return from Padua: their training seems to
+have merged their individuality into the dominant style of Donatello;
+and much of their subsequent work is now ascribed to Donatello or his
+<i>bottega</i>. Verrocchio, whom Gauricus calls Donatello's rival, owes
+little or nothing to the elder man, and the versatile sculptors who
+outlived Donatello, such as Rossellino, Benedetto da Maiano, Mino da
+Fiesole and Desiderio, show relatively small traces of his influence.
+But Donatello's sculpture acted as a restraining influence, a tonic:
+it was a living protest against flippancy and carelessness, and his
+influence was of service even where it was of a purely negative
+character. Through Bertoldo Donatello's influence extended to Michael
+Angelo, affecting his ideas of form: But Jacopo della Quercia, who was
+almost as great a man as Donatello, is the prototype of Michael
+Angelo's spirit. Jacopo ought to have founded<span class="pagenum"><a name="Page_192" id="Page_192">[Pg 192]</a></span> a powerful, indeed an
+overwhelming school of sculpture at Siena. Cozzarelli, Neroccio, and
+the Turini just fail to attain distinction; but their force and
+virility should have fructified Jacopo's ideas and developed a supreme
+school of monumental sculpture. As regards Michael Angelo, there can
+be no question of his having been influenced by Donatello's St. John
+the Evangelist and the Campanile Abraham. The <i>Madonna delle
+treppe</i><a name="FNanchor_242_242" id="FNanchor_242_242"></a><a href="#Footnote_242_242" class="fnanchor">[242]</a> in a lesser degree is suggested by Donatello. The Trinity
+on the niche of St. Louis again reminds one of Michael Angelo's
+conception of the Eternal Father. His Bacchus in Berlin<a name="FNanchor_243_243" id="FNanchor_243_243"></a><a href="#Footnote_243_243" class="fnanchor">[243]</a> was held
+to be the work of Donatello himself, and the Piet&#224; in St. Peter's has
+also a reminiscence of the older master. But in all these cases the
+resemblance is physical. The intellectual genius of Michael Angelo
+owed nothing to Donatello. Condivi records one of Michael Angelo's
+rare <i>obiter dicta</i> about his predecessors<a name="FNanchor_244_244" id="FNanchor_244_244"></a><a href="#Footnote_244_244" class="fnanchor">[244]</a> to the effect that
+Donatello's work, much as he admired it, was inadequately polished
+owing to lack of patience. The criticism was not very sagacious, and
+one would least expect it from Michael Angelo, of whose work so much
+was left unfinished. But, at any rate, Donatello commanded his
+approval, and contributed something to one of the greatest artists of
+the world. But the ideals of Michael Angelo were too comprehensive to
+be derived from one source or another, too stupendous to spring from
+individuals. He sought out the universal form: he took mankind for his
+model; and while he typified humanity he effectively denationalised
+Italian sculpture.</p>
+
+<hr style="width: 45%;" />
+<p><span class="pagenum"><a name="Page_193" id="Page_193">[Pg 193]</a></span></p>
+
+<div class="sidenote">Early Criticism of Donatello.</div>
+
+<p>Donatello's activity is the best testimonial to the appreciation of
+his work during his lifetime. Sabba del Castiglione was proud to
+possess a specimen of Donatello's sculpture.<a name="FNanchor_245_245" id="FNanchor_245_245"></a><a href="#Footnote_245_245" class="fnanchor">[245]</a> Commissions were
+showered on him in great numbers, and Gauricus says that he produced
+more than all his contemporaries.<a name="FNanchor_246_246" id="FNanchor_246_246"></a><a href="#Footnote_246_246" class="fnanchor">[246]</a> Flavius Blondius of Forli
+compares him favourably with the ancients.<a name="FNanchor_247_247" id="FNanchor_247_247"></a><a href="#Footnote_247_247" class="fnanchor">[247]</a> Bartolomeo Fazio
+warmly praised Donatello, his junior.<a name="FNanchor_248_248" id="FNanchor_248_248"></a><a href="#Footnote_248_248" class="fnanchor">[248]</a> Francesco d'Olanda<a name="FNanchor_249_249" id="FNanchor_249_249"></a><a href="#Footnote_249_249" class="fnanchor">[249]</a> and
+Benvenuto Cellini<a name="FNanchor_250_250" id="FNanchor_250_250"></a><a href="#Footnote_250_250" class="fnanchor">[250]</a> also admired him. Lasca credited Donatello with
+having done for sculpture what Brunellesco did for architecture:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">&quot;<i>E Donatello messe la scultura</i><br /></span>
+<span class="i2"><i>Nel dritto suo sentier ch' era smarrita</i><br /></span>
+<span class="i0"><i>Cosi l'architettura</i><br /></span>
+<span class="i2"><i>Storpiata, e guasta alle man' de' Tedeschi....</i>&quot;<br /></span>
+</div></div>
+
+<p>and so forth.<a name="FNanchor_251_251" id="FNanchor_251_251"></a><a href="#Footnote_251_251" class="fnanchor">[251]</a> Another early poem, the <i>Rappresentazione</i> of King
+Nebuchadnezzar, shows the great popularity of Donatello in the humbler
+walks of life.<a name="FNanchor_252_252" id="FNanchor_252_252"></a><a href="#Footnote_252_252" class="fnanchor">[252]</a> Vasari's rhetoric led him to say that Donatello
+was sent by Nature, indignant at seeing herself caricatured.<a name="FNanchor_253_253" id="FNanchor_253_253"></a><a href="#Footnote_253_253" class="fnanchor">[253]</a>
+Bocchi claims<span class="pagenum"><a name="Page_194" id="Page_194">[Pg 194]</a></span> that, having equalled the ancients and surpassed the
+sculptors of his own day, Donatello's name will live in the perpetual
+memory of mankind.<a name="FNanchor_254_254" id="FNanchor_254_254"></a><a href="#Footnote_254_254" class="fnanchor">[254]</a></p>
+
+<hr style="width: 45%;" />
+
+<div class="sidenote">Character and Personality of Donatello.</div>
+
+<p>Donatello must be judged by his work alone. His intellect is only
+reflected in his handicraft. We know little about him, but all we know
+bears tribute to his high character. The very name by which he was
+called&#8212;Donatello&#8212;is a diminutive, a term of endearment. His
+generosity, his modesty, and a pardonable pride, are recorded in
+stories which have been generically applied to others, but which were
+specific to himself. He shared his purse with his friends:<a name="FNanchor_255_255" id="FNanchor_255_255"></a><a href="#Footnote_255_255" class="fnanchor">[255]</a> he
+preferred plain clothing to the fine raiment offered by Cosimo de'
+Medici;<a name="FNanchor_256_256" id="FNanchor_256_256"></a><a href="#Footnote_256_256" class="fnanchor">[256]</a> and he indignantly broke the statue for which a Genoese
+merchant was unwilling to pay a fair price.<a name="FNanchor_257_257" id="FNanchor_257_257"></a><a href="#Footnote_257_257" class="fnanchor">[257]</a> He was recognised as
+a man of honourable judgment, and he was called upon to act as
+assessor several times. The friend of the Medici, of Cyriac of Ancona,
+of Niccolo Niccoli, the greatest antiquarian of the day, and of Andrea
+della Robbia, one of the pall-bearers at his funeral, must have been a
+man of winning personality and considerable learning. But he was
+always simple and na&#239;ve: <i>benigno e cortese</i>, according to
+Vasari,<a name="FNanchor_258_258" id="FNanchor_258_258"></a><a href="#Footnote_258_258" class="fnanchor">[258]</a> but as Summonte added with deeper insight, his work was
+far from simple.<a name="FNanchor_259_259" id="FNanchor_259_259"></a><a href="#Footnote_259_259" class="fnanchor">[259]</a> He is one of the rare men of genius against whom
+no contemporary attack is recorded. He was con<span class="pagenum"><a name="Page_195" id="Page_195">[Pg 195]</a></span>tent with little;<a name="FNanchor_260_260" id="FNanchor_260_260"></a><a href="#Footnote_260_260" class="fnanchor">[260]</a>
+his life was even-tenored; his work, though not faultless, shows a
+steady and unbroken progress towards the noblest achievements of
+plastic art.</p>
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_197" id="Page_197">[Pg 197]</a></span></p>
+
+
+<h2>APPENDICES</h2>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_199" id="Page_199">[Pg 199]</a></span></p>
+
+<h2>APPENDIX I</h2>
+
+<h3>WORK LOST OR NOT EXECUTED</h3>
+
+
+<p><i>Padua.</i>&#8212;For the Santo altar, a figure of God the Father, stone; a
+Deposition and the remaining bas-reliefs mentioned in the &quot;Anonimo
+Morelliano;&quot; a St. Sebastian, wood; a Madonna in the church of the
+Servi.</p>
+
+<p><i>Ferrara.</i>&#8212;Donatello probably worked there; in 1451 he visited the
+town as an assessor. Gualandi, iv. 35.</p>
+
+<p><i>Modena.</i>&#8212;Donatello also visited this town in 1451, and received a
+first instalment towards the equestrian statue of Borso d'Este.
+Campori, &quot;Gli artisti Italiani.&quot; Modena, 1855, p. 185.</p>
+
+<p>For <i>Mantua</i> he made a large number of works, including columns,
+capitals, images of the Madonna in stone and terra-cotta, a St. Andrew
+in tufo, &amp;c.; also the design for a shrine of St. Anselm. See
+documents in Archivio Storico Lombardo, 1886, p. 666. At <i>Rome</i> a St.
+John Baptist, &quot;Una testa&quot; in the Minerva Church, and the portrait of
+Canon Morosini in Santa Maria Maggiore.</p>
+
+<p>At <i>Siena</i> a Goliath, a silver crucifix, gates for the Cathedral, and
+a marble statue of San Bernardino.</p>
+
+<p>At <i>Ancona</i> and <i>Orvieto</i> statues of St. John the Baptist.</p>
+
+<p>At <i>Florence</i> the following works are lost: the Dovizia, a figure of
+Plenty, which stood in the Mercato Vecchio; two bronze heads for the
+Cantoria; the Colossi for the Cathedral; four large stucco Saints in
+San Lorenzo; a statue with<span class="pagenum"><a name="Page_200" id="Page_200">[Pg 200]</a></span> drapery of gilded lead made with
+Brunellesco. San Rossore for Ogni Santi; a reliquary of Santa Verdiana
+(Richa, ii. 231); Albizzi tombs. The Cathedral gates were never made.
+Bocchi, Cinelli, Vasari, and Borghini mention a large number of
+smaller works now unidentified; plaquettes, Madonnas, crucifixes,
+heraldic shields, busts and reliefs.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_201" id="Page_201">[Pg 201]</a></span></p>
+<h2><a name="APPENDIX_II" id="APPENDIX_II"></a>APPENDIX II</h2>
+
+<h3>DOCUMENTS</h3>
+
+
+<p><span class="smcap">These</span> are printed as specimens of the original authorities upon which
+our authentic knowledge of Donatello is based.</p>
+
+
+<h3>A.</h3>
+
+<p>Denunzia de' Beni of 1427, stating Donatello's home, his substance,
+his partnership with Michelozzo; referring also to the bronze relief
+for the Siena Font and the figure of San Rossore. Also a list of the
+sculptor's family. (Gaye, i. 120.)</p>
+
+<p>Donato di nicholo di betto, intagliatore, prestanziato nel quartiere
+di Sco. Spirito, gonfalone nichio, in fior. 1. s. 10 den. 2. Sanza
+niuna sustanza, eccietto un pocho di maserizie per mio uso edella mia
+famiglia.</p>
+
+<p>E pi&#249; esercito la detta arte insieme e a conpagnia con Michelozzo di
+bartolomeo, sanza niuna chorpo, salvo flor. 30 in pi&#249; ferramenti et
+masserizie per detta arte.</p>
+
+<p>E di detta conpagnia e bottegha tralgho quella sustanza et in quello
+modo, che per la scritta della sustanza di Michelozzo sopradetto
+appare nel quartiere di Sco. Giovanni G. dragho, che dice in lionardo
+di bartolomeo di gherardo e frategli. Eppi&#249; &#242; avere dall' operaio di
+duomo di Siena fior. 180 per chagione duna storia dottone, gli feci
+pi&#249; tempo fa.</p>
+
+<p>Eppi&#249; dal convento e frati dogni santi &#242; avere per chagione<span class="pagenum"><a name="Page_202" id="Page_202">[Pg 202]</a></span> duna meza
+fighura di bronzo di Sco. rossore della quale non s&#224; fatto merchato
+niuno. Chredo restare avere pi&#249; che fior 30.</p>
+
+<p>truovomi con questa famiglia in chasa:</p>
+<div class="blockquot"><p>Donato danni 40.<br />
+M<sup>a</sup> Orsa mia madre 80.<br />
+M<sup>a</sup> Tita mia sirochia, vedova, sanza dote 45.<br />
+Giuliano figliuolo di detta M<sup>a</sup> tita atratto 18.<br />
+</p></div>
+
+<p>Sto a pigione in una chasa di ghuglielmo adimari, posta ne chorso
+degli adimari e nel popolo Sco. Cristofano,&#8212;paghone fior. 15 l'anno.</p>
+
+
+<h3>B.</h3>
+
+<p>The contract for the payment of 1900 florins to Donatello in respect
+of the Bronze Gates for the Sacristy doors of the Cathedral, a work
+which was subsequently entrusted to Luca della Robbia. (Semper, p.
+284.)</p>
+
+<p>21. ii. 1487. Item commiserunt Nicolao Johannotii de Biliottis et
+Salito Jacobi de Risalitis duobus ex eorum officio locandi Donato
+N.B.B. civi Florentino magistro intagli faciendo duas portas de bronzo
+duabus novis sacristiis cathedralis ecclesie florentine pro pretio in
+totum flor. 1900 pro eo tempore et cum illis pactis et storiis et
+modis pro ut eis videbitur fore utilius et honorabilius pro dicta
+opera et quidquid fecerint circa predictum intelligatur et sit ac si
+factum foret per totum eorum officium.</p>
+
+
+<h3>C.</h3>
+
+<p>Payment for casting the bronze statue of St. Louis for the Paduan
+altar; also for two of the Miracle reliefs and two symbols of the
+Evangelists. (Gloria.)</p>
+
+<p>19. vi. 1447. E a d&#236; dicto av&#224; M<sup>o</sup> Andrea dal Mayo per far getare duy
+de i miracholli de S. Antonio e dui guagnelista e un S. Luixe. i quali
+va in lanchona de laltaro grande&#8212;lire 45 soldi 12.<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span></p>
+
+
+<h3>D.</h3>
+
+<p>Payment to Donatello and some of his assistants (Gloria.)</p>
+
+<p>11. ii. 1447. E a d&#236; ii dicto av&#232; Donatello da Fiorenza per so nome de
+luy e de urbano e de Zuan da Pixa e de Antonio Celino e de Francesco
+del Vallente su garzon e de Nicolo depentor so desipollo over garzon
+per parte over sora la anchona over palla el dicto e i dicti de
+(<i>i.e.</i>, devono) fare al altaro grande del curo (<i>i.e.</i>, coro) del
+santo,&#8212;lire cento e soldi dexe.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_204" id="Page_204">[Pg 204]</a></span></p>
+<h2>APPENDIX III</h2>
+
+<h3>BOOKS OF REFERENCE</h3>
+
+
+<p><span class="smcap">Albertini</span>, &quot;Memoriale di molte statues,&quot; 1863 (1st ed., Florence,
+1510).</p>
+
+<p>Anonimo Morelliano, &quot;Notizie d'opere di disegno,&quot; written about 1530,
+1884 (1st ed. 1800).</p>
+
+<p>Bocchi, F., &quot;Eccellenza della statua di San Giorgio,&quot; Florence, 1584;
+edited by Cinelli, &quot;Bellezze della citt&#224; di Firenze,&quot; 1677 (1st ed.
+1592).</p>
+
+<p>Bode, W., &quot;Donatello &#224; Padoue,&quot; Paris, 1883; &quot;Florentiner Bildhauer
+der Renaissance,&quot; Berlin, 1902.</p>
+
+<p>Bo&#239;to, Camillo, &quot;L'Altare di Donatello,&quot; Milan, 1897.</p>
+
+<p>Borghini, &quot;Riposo,&quot; Florence, 1730 (1st ed. 1586).</p>
+
+<p>Bottari, G., &quot;Lettere pittoriche,&quot; 8 vols. 1822 (1st ed.).</p>
+
+<p>Cellini, B., &quot;Due Trattati,&quot; edited by Carlo Milanesi, 1857.</p>
+
+<p>Cicognara, &quot;Storia della scultura,&quot; Venice, 1823, 7 vols.</p>
+
+<p>Gauricus, P., &quot;De Sculptura,&quot; Florence, 1504.</p>
+
+<p>Gaye, &quot;Carteggio inedito d'artisti,&quot; Florence, 1839, 3 vols.</p>
+
+<p>Ghiberti, L., &quot;Commentaries&quot; in Vasari, vol. i.</p>
+
+<p>Gloria, Michael Angelo, &quot;Donatello fiorentino e le sue opere, ... in
+Padova,&quot; Padua, 1895.</p>
+
+<p>Gnoli, Article on &quot;Donatello in Rome&quot;; &quot;Arch. storico dell' arte,&quot;
+1888.</p>
+
+<p>Gonzati, &quot;La Chiesa di S. Antonio di Padova,&quot; 1852, 2 vols.</p>
+
+<p>Gualandi, &quot;Memorie,&quot; Bologna, 1840.</p>
+
+<p>Lindsay, Lord, &quot;Christian Art,&quot; 1885, 2 vols.<span class="pagenum"><a name="Page_205" id="Page_205">[Pg 205]</a></span></p>
+
+<p>&quot;L'Osservatore Fiorentino,&quot; 1821, 3 vols. (1st ed. 1797).</p>
+
+<p>Lusini, V., &quot;Il San Giovanni di Siena,&quot; Florence, 1901.</p>
+
+<p>Milanesi, C., &quot;Documenti dell' arte Senese,&quot; Siena, 1854, 3 vols.</p>
+
+<p>Milanesi, G., &quot;Catalogo delle opere di Donatello,&quot; Florence, 1888.</p>
+
+<p>Molinier, E., &quot;Les Plaquettes,&quot; Paris, 1886, 2 vols.</p>
+
+<p>M&#252;ntz E., &quot;Les Pr&#233;curseurs de la Renaissance,&quot; Paris, 1882;
+&quot;Donatello,&quot; Paris, 1885.</p>
+
+<p>Perkins, C., &quot;Tuscan Sculptors,&quot; 1864, 2 vols.</p>
+
+<p>Reymond, M., &quot;La Sculpture Florentine,&quot; Florence, 1898.</p>
+
+<p>Richa, &quot;Notizie istoriche,&quot; Florence, 1754, 10 vols.</p>
+
+<p>Schmarsow, A., &quot;Donatello,&quot; Breslau, 1886.</p>
+
+<p>Semper, H., &quot;Donatellos Leben und Werke,&quot; Innsbruck, 1887; &quot;Donatello,
+seine zeit und Schule,&quot; Vienna, 1875.</p>
+
+<p>Semrau, M., &quot;Donatello's Kanzeln in San Lorenzo,&quot; Breslau, 1891.</p>
+
+<p>Tanfani-Centofanti, &quot;Notizie di Artisti ... Pisani,&quot; Pisa, 1898.</p>
+
+<p>Titi, &quot;Ammaestramento Utile,&quot; Rome, 1686.</p>
+
+<p>Vasari, &quot;Vite dei Pittori,&quot; Florence, Lemonnier, ed. 1846, 14 vols.
+(1st ed. 1550).</p>
+
+<p>Von Tschudi, &quot;Donatello e la critica moderna,&quot; Turin, 1887.</p>
+
+
+
+<hr style="width: 65%;" />
+<p><span class="pagenum"><a name="Page_207" id="Page_207">[Pg 207]</a></span></p>
+<h2>INDEX</h2>
+
+
+<p>
+<span class="smcap">Abraham</span>: statue, <a href="#Page_10">10</a>, <a href="#Page_30">30</a><br />
+<br />
+Alberti, L.B.: on Art, <a href="#Page_22">22</a><br />
+<br />
+Ambras: entombment, <a href="#Page_177">177</a><br />
+<br />
+Ammanati: sculptor, <a href="#Page_102">102</a><br />
+<br />
+Amorino: bronze, Bargello, <a href="#Page_113">113</a>, <a href="#Page_114">114</a><br />
+<br />
+Ancona: Baptist for, <a href="#Page_59">59</a><br />
+<br />
+Andr&#233; (Madame) Collection:<br />
+<span style="margin-left: 1em;">Prophet, <a href="#Page_7">7</a>;</span><br />
+<span style="margin-left: 1em;">St. John, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">profile warrior, <a href="#Page_98">98</a>;</span><br />
+<span style="margin-left: 1em;">bronze children, <a href="#Page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">marble boy, <a href="#Page_115">115</a>;</span><br />
+<span style="margin-left: 1em;">Gonzaga bust, <a href="#Page_127">127</a>;</span><br />
+<span style="margin-left: 1em;">St. Sebastian, <a href="#Page_177">177</a></span><br />
+<br />
+Andrew, St.: statue (lost), <a href="#Page_199">199</a><br />
+<br />
+Annunciation: Sta. Croce, <a href="#Page_49">49</a>, <a href="#Page_113">113</a>, <a href="#Page_154">154</a><br />
+<br />
+Anselm, St.: projected shrine, <a href="#Page_199">199</a><br />
+<br />
+Antonio, St.: at Padua, bronze, <a href="#Page_153">153</a><br />
+<br />
+Aquila, Andrea del: sculptor, <a href="#Page_191">191</a><br />
+<br />
+Aragazzi: <i>see</i> <a href="#Tombs">Tombs</a><br />
+<br />
+Architect: Donatello as, <a href="#Page_59">59</a>, <a href="#Page_65">65</a><br />
+<br />
+Arduino: engineer, <a href="#Page_143">143</a><br />
+<br />
+Aretino: letter from, <a href="#Page_76">76</a><br />
+<br />
+<i>Assistants</i>, Donatello's:<br />
+<span style="margin-left: 1em;">Moscatello, <a href="#Page_64">64</a>, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Giovanni da Pisa, <a href="#Page_75">75</a>, <a href="#Page_168">168</a>, <a href="#Page_190">190</a>, <a href="#Page_203">203</a>;</span><br />
+<span style="margin-left: 1em;">Nani, G., <a href="#Page_167">167</a>;</span><br />
+<span style="margin-left: 1em;">Cocaro, N., <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Meo of Florence, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Pipo of Florence, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Antonio of Lugano, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Bartolommeo of Ferrara, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Jacomo, goldsmith, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Squarcione, <a href="#Page_150">150</a>;</span><br />
+<span style="margin-left: 1em;">Giovanni da Becato, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Francesco del Mayo, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Andrea delle Caldiere, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Urbano da Cortona, <a href="#Page_168">168</a>, <a href="#Page_169">169</a>;</span><br />
+<span style="margin-left: 1em;">Francesco Valente, <a href="#Page_168">168</a>, <a href="#Page_203">203</a>;</span><br />
+<span style="margin-left: 1em;">Antonio of Pisa, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Bellano, <a href="#Page_170">170</a>, <a href="#Page_190">190</a>;</span><br />
+<span style="margin-left: 1em;">Bertoldo, <a href="#Page_189">189</a>, <a href="#Page_191">191</a></span><br />
+<br />
+Assumption: Brancacci tomb, <a href="#Page_80">80</a><br />
+<br />
+Assyrian low relief, <a href="#Page_81">81</a><br />
+<br />
+Athos, Mount: conventionalised art, <a href="#Page_22">22</a><br />
+<br />
+Aurelius, M.: equestrian statue, <a href="#Page_173">173</a><br />
+<br />
+<br />
+<span class="smcap">Banco</span>, Nanni di: sculptor, <a href="#Page_30">30</a>, <a href="#Page_190">190</a><br />
+<br />
+Bandinelli, <a href="#Page_46">46</a>, <a href="#Page_102">102</a>, <a href="#Page_186">186</a><br />
+<br />
+Baptist, St. John: <i>see</i> <a href="#St_John">St. John</a><br />
+<br />
+Baptistery gates, <a href="#Page_2">2</a>;<br />
+<span style="margin-left: 1em;">competition, <a href="#Page_3">3</a>;</span><br />
+<span style="margin-left: 1em;">Magdalen, <a href="#Page_144">144</a>;</span><br />
+<span style="margin-left: 1em;">Coscia tomb, <a href="#Page_72">72</a></span><br />
+<br />
+Bardini Collection:<br />
+<span style="margin-left: 1em;">Madonna, <a href="#Page_54">54</a>, <a href="#Page_185">185</a>;</span><br />
+<span style="margin-left: 1em;">fountain, <a href="#Page_66">66</a>;</span><br />
+<span style="margin-left: 1em;">tomb slab, <a href="#Page_85">85</a>;</span><br />
+<span style="margin-left: 1em;">Crucifixion, <a href="#Page_178">178</a></span><br />
+<br />
+Bas-relief: its limitations, <a href="#Page_137">137</a><br />
+<br />
+Bastianini, <a href="#Page_182">182</a><br />
+<br />
+Battoni, P.: painter, <a href="#Page_145">145</a><br />
+<br />
+Becchi: shield, <a href="#Page_68">68</a><br />
+<br />
+Beckerath: Madonna, <a href="#Page_182">182</a><br />
+<br />
+Bellano, <a href="#Page_170">170</a>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a><br />
+<br />
+Benda Collection: bust, <a href="#Page_118">118</a><br />
+<br />
+Benedetto da Maiano, <a href="#Page_191">191</a><br />
+<br />
+Bentivoglio: medal of, <a href="#Page_82">82</a><br />
+<br />
+Bergamo: Madonna, <a href="#Page_183">183</a><br />
+<br />
+Berlin Museum:<br />
+<span style="margin-left: 1em;">bust, terra cotta, <a href="#Page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">Gonzaga, bronze, <a href="#Page_127">127</a>;</span><br />
+<span style="margin-left: 1em;">bronze head of old man, <a href="#Page_128">128</a>;</span><br />
+<span style="margin-left: 1em;">St. John, bronze, <a href="#Page_147">147</a>;</span><br />
+<span style="margin-left: 1em;">putto, bronze, from Siena, <a href="#Page_114">114</a>;</span><br />
+<span style="margin-left: 1em;">Flagellation, marble, <a href="#Page_178">178</a>;</span><br />
+<span style="margin-left: 1em;">David, bronze, <a href="#Page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">Madonnas, <a href="#Page_180">180</a></span><br />
+<br />
+Bernardino, St.: projected statue, <a href="#Page_146">146</a>, <a href="#Page_199">199</a><br />
+<br />
+Bertoldo, <a href="#Page_189">189</a>, <a href="#Page_191">191</a><br />
+<br />
+Blondius, F., <a href="#Page_193">193</a><br />
+<br />
+Bocchi: passim<br />
+<br />
+Bologna: sculpture at, <a href="#Page_9">9</a>, <a href="#Page_85">85</a>, <a href="#Page_143">143</a><br />
+<br />
+Boni: shield, <a href="#Page_68">68</a><br />
+<br />
+Boniface VIII.: statues of, <a href="#Page_9">9</a><br />
+<br />
+Borso d'Este: projected statue, <a href="#Page_199">199</a><br />
+<br />
+Botticelli, <a href="#Page_99">99</a><br />
+<br />
+Bramantino: drawings, <a href="#Page_90">90</a><br />
+<br />
+Brancacci: <i>see</i> <a href="#Tombs">Tombs</a><br />
+<br />
+Bronzino, <a href="#Page_52">52</a>, <a href="#Page_102">102</a><br />
+<br />
+Brosses, des: criticisms, <a href="#Page_138">138</a>, <a href="#Page_144">144</a><br />
+<br />
+Brunellesco:<br />
+<span style="margin-left: 1em;">model for gates, <a href="#Page_3">3</a>;</span><br />
+<span style="margin-left: 1em;">co-operation with Donatello, <a href="#Page_37">37</a>, <a href="#Page_200">200</a></span><br />
+<br />
+Buggiano, <a href="#Page_191">191</a><br />
+<br />
+Busts:<br />
+<span style="margin-left: 1em;">Benda Collection, <a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">Dreyfus Collection, <a href="#Page_118">118</a>;</span><br />
+<span class="pagenum"><a name="Page_208" id="Page_208">[Pg 208]</a></span><span style="margin-left: 1em;">Duke of Westminster's Collection, <a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">Hainauer Collection, <a href="#Page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">Faenza St. John, <a href="#Page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">Martelli St. John, <a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">San Lorenzo, Florence, <a href="#Page_126">126</a>;</span><br />
+<span style="margin-left: 1em;">St. Cecilia, London, <a href="#Page_126">126</a>;</span><br />
+<span style="margin-left: 1em;">Gonzaga bronze, <a href="#Page_127">127</a>;</span><br />
+<span style="margin-left: 1em;">old man's head, bronze, <a href="#Page_128">128</a>;</span><br />
+<span style="margin-left: 1em;">Gattamelata, <a href="#Page_99">99</a>, <a href="#Page_129">129</a>;</span><br />
+<span style="margin-left: 1em;">Vanchettoni, <a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">Vecchio Barbuto, Florence, <a href="#Page_130">130</a>;</span><br />
+<span style="margin-left: 1em;">Roman Emperor, Florence, <a href="#Page_130">130</a>;</span><br />
+<span style="margin-left: 1em;">old woman, bronze, <a href="#Page_130">130</a>;</span><br />
+<span style="margin-left: 1em;">San Rossore, <a href="#Page_130">130</a>, <a href="#Page_201">201</a>;</span><br />
+<span style="margin-left: 1em;">Niccol&#242; da Uzzano, <a href="#Page_121">121</a></span><br />
+<br />
+<br />
+<span class="smcap">Caldiere</span>, Andrea, Donatello's bronze caster, <a href="#Page_168">168</a><br />
+<br />
+Camondo, Comte de: Crucifixion, <a href="#Page_178">178</a><br />
+<br />
+Canigiani: Palazzo, sculpture, <a href="#Page_191">191</a><br />
+<br />
+Canon of Art, <a href="#Page_20">20</a><br />
+<br />
+Cantoria:<br />
+<span style="margin-left: 1em;">San Lorenzo, <a href="#Page_64">64</a>;</span><br />
+<span style="margin-left: 1em;">Cathedral, <a href="#Page_103">103</a>, <a href="#Page_107">107</a>, <a href="#Page_199">199</a>;</span><br />
+<span style="margin-left: 1em;">Luca della Robbia's, <a href="#Page_106">106</a>-8</span><br />
+<br />
+Capodalista: horse, <a href="#Page_175">175</a><br />
+<br />
+Castiglione: Sabba del, <a href="#Page_119">119</a>, <a href="#Page_193">193</a><br />
+<br />
+Cecilia, St. (London), <a href="#Page_126">126</a>;<br />
+<span style="margin-left: 1em;">ditto, Lord Wemyss, <a href="#Page_172">172</a></span><br />
+<br />
+Cellini, B., <a href="#Page_141">141</a>, <a href="#Page_193">193</a><br />
+<br />
+Charge to Peter (London), <a href="#Page_95">95</a><br />
+<br />
+Chartres Cathedral: statuary, <a href="#Page_41">41</a><br />
+<br />
+Cherichini, supposed portrait of, <a href="#Page_20">20</a><br />
+<br />
+Childhood, Donatello's representation of, <a href="#Page_103">103</a><br />
+<br />
+Chim&#230;ra: Etruscan, <a href="#Page_69">69</a><br />
+<br />
+Choristers of bronze, Padua, <a href="#Page_163">163</a><br />
+<br />
+Cinelli: passim<br />
+<br />
+Ciuffagni: sculptor, <a href="#Page_60">60</a>, <a href="#Page_66">66</a><br />
+<br />
+Civitali, M., sculptor, <a href="#Page_13">13</a><br />
+<br />
+Classical influences, <a href="#Page_4">4</a>, <a href="#Page_90">90</a>, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>;<br />
+<span style="margin-left: 1em;">architecture, <a href="#Page_160">160</a></span><br />
+<br />
+Cocaro, Donatello's assistant, <a href="#Page_168">168</a><br />
+<br />
+Colle, Simone da: sculptor, <a href="#Page_3">3</a><br />
+<br />
+Colleone: equestrian statue, <a href="#Page_150">150</a><br />
+<br />
+Colossi, <a href="#Page_34">34</a><br />
+<br />
+Coronation window, <a href="#Page_60">60</a><br />
+<br />
+Coscia: <i>see</i> <a href="#Tombs">Tombs</a><br />
+<br />
+Cozzarelli: sculptor, <a href="#Page_192">192</a><br />
+<br />
+Criticism on Donatello, early, <a href="#Page_193">193</a>;<br />
+<span style="margin-left: 1em;">later, <a href="#Page_93">93</a></span><br />
+<br />
+Croce, Santa, sculpture in, <a href="#Page_49">49</a>, <a href="#Page_113">113</a>, <a href="#Page_38">38</a><br />
+<br />
+Crowds: Donatello's treatment of, <a href="#Page_156">156</a><br />
+<br />
+Crucifix: Santa Croce, <a href="#Page_47">47</a>, <a href="#Page_156">156</a><br />
+<br />
+Crucifixion:<br />
+<span style="margin-left: 1em;">Bargello bronze, <a href="#Page_178">178</a>;</span><br />
+<span style="margin-left: 1em;">Camondo, bronze, <a href="#Page_178">178</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, <a href="#Page_178">178</a></span><br />
+<br />
+Cyriac of Ancona, <a href="#Page_194">194</a><br />
+<br />
+<br />
+<span class="smcap">Daniel</span>: statue, <a href="#Page_10">10</a><br />
+<span style="margin-left: 1em;">St., at Padua, bronze, <a href="#Page_154">154</a></span><br />
+<br />
+Dante, <a href="#Page_45">45</a>, <a href="#Page_90">90</a><br />
+<br />
+Davanzati: shield, <a href="#Page_68">68</a><br />
+<br />
+David:<br />
+<span style="margin-left: 1em;">marble statue, <a href="#Page_16">16</a>;</span><br />
+<span style="margin-left: 1em;">Martelli's statue, <a href="#Page_52">52</a>;</span><br />
+<span style="margin-left: 1em;">bronze, <a href="#Page_99">99</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, <a href="#Page_52">52</a></span><br />
+<br />
+Dello: his epitaph, <a href="#Page_13">13</a><br />
+<br />
+Denunzia, <a href="#Page_1">1</a>, <a href="#Page_76">76</a>, <a href="#Page_201">201</a><br />
+<br />
+Desiderio, <a href="#Page_133">133</a>, <a href="#Page_191">191</a><br />
+<br />
+Doni, A.: criticism of Ghiberti, <a href="#Page_138">138</a><br />
+<br />
+Dovizia: statue, <a href="#Page_142">142</a>, <a href="#Page_199">199</a><br />
+<br />
+Drapery: Donatello's treatment of, <a href="#Page_31">31</a><br />
+<br />
+Drawings by Donatello, <a href="#Page_60">60</a><br />
+<br />
+Dreyfus Collection:<br />
+<span style="margin-left: 1em;">marble bust, <a href="#Page_118">118</a>;</span><br />
+<span style="margin-left: 1em;">Christ and St. John, relief, <a href="#Page_133">133</a>;</span><br />
+<span style="margin-left: 1em;">St. Jerome, bronze, <a href="#Page_170">170</a>;</span><br />
+<span style="margin-left: 1em;">Madonna bronze, <a href="#Page_177">177</a>;</span><br />
+<span style="margin-left: 1em;">Verrocchio, putto, <a href="#Page_105">105</a></span><br />
+<br />
+<br />
+<span class="smcap">Eagle</span>: the Walpole, <a href="#Page_162">162</a><br />
+<br />
+Entombment:<br />
+<span style="margin-left: 1em;">Vienna, <a href="#Page_177">177</a></span><br />
+<span style="margin-left: 1em;">Padua: marble, <a href="#Page_161">161</a></span><br />
+<br />
+Eremitani altar, <a href="#Page_169">169</a><br />
+<br />
+Evangelist symbols at Padua, <a href="#Page_161">161</a><br />
+<span style="margin-left: 1em;">Siena, <a href="#Page_169">169</a></span><br />
+<br />
+Eve: bas-relief, <a href="#Page_142">142</a><br />
+<br />
+<br />
+<span class="smcap">Faenza</span>:<br />
+<span style="margin-left: 1em;">bust of St. John, <a href="#Page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">St. Jerome, <a href="#Page_148">148</a></span><br />
+<br />
+Faith: statuette at Siena, <a href="#Page_71">71</a><br />
+<br />
+Fazio, B., <a href="#Page_193">193</a><br />
+<br />
+Filarete, <a href="#Page_91">91</a><br />
+<br />
+Flagellation:<br />
+<span style="margin-left: 1em;">London, <a href="#Page_62">62</a>;</span><br />
+<span style="margin-left: 1em;">Paris, <a href="#Page_177">177</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, <a href="#Page_177">177</a></span><br />
+<br />
+Flaxman's criticism, <a href="#Page_93">93</a><br />
+<br />
+Florence:<br />
+<span style="margin-left: 1em;">Cathedral fa&#231;ade, <a href="#Page_6">6</a>, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>;</span><br />
+<span style="margin-left: 1em;">cupola, <a href="#Page_65">65</a>;</span><br />
+<span style="margin-left: 1em;">cantoria, <a href="#Page_107">107</a>;</span><br />
+<span style="margin-left: 1em;">sacristy carving, <a href="#Page_115">115</a>;</span><br />
+<span style="margin-left: 1em;">window, <a href="#Page_60">60</a>;</span><br />
+<span style="margin-left: 1em;">colossi, <a href="#Page_34">34</a>;</span><br />
+<span style="margin-left: 1em;">gates, <a href="#Page_200">200</a>, <a href="#Page_202">202</a></span><br />
+<br />
+Font:<br />
+<span style="margin-left: 1em;">Siena, <a href="#Page_70">70</a>, <a href="#Page_105">105</a>, <a href="#Page_201">201</a>;</span><br />
+<span style="margin-left: 1em;">at Pietra Santa, <a href="#Page_191">191</a></span><br />
+<br />
+Fontainebleau: Madonna, <a href="#Page_184">184</a><br />
+<br />
+Fountains, <a href="#Page_66">66</a>, <a href="#Page_70">70</a><br />
+<br />
+Francis, St.: at Padua, <a href="#Page_153">153</a><br />
+<br />
+Fulgosio: monument, Padua, <a href="#Page_168">168</a><br />
+<br />
+<br />
+<span class="smcap">Gagini</span>: sculptors, <a href="#Page_131">131</a><br />
+<br />
+<a name="Gattamelata">Gattamelata</a>:<br />
+<span style="margin-left: 1em;">bust, <a href="#Page_99">99</a>, <a href="#Page_129">129</a>;</span><br />
+<span style="margin-left: 1em;">tombs, <a href="#Page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">equestrian statue, <a href="#Page_173">173</a></span><br />
+<br />
+Gauricus, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_193">193</a><br />
+<br />
+Gems: employment of, <a href="#Page_97">97</a>-99, <a href="#Page_129">129</a><br />
+<br />
+George, St.:<br />
+<span style="margin-left: 1em;">statue, <a href="#Page_39">39</a>;</span><br />
+<span style="margin-left: 1em;">relief, <a href="#Page_42">42</a>, <a href="#Page_72">72</a></span><br />
+<br />
+Ghiberti:<br />
+<span style="margin-left: 1em;">bronze gates, <a href="#Page_3">3</a>, <a href="#Page_137">137</a>;</span><br />
+<span style="margin-left: 1em;">relation with Donatello, <a href="#Page_190">190</a>;</span><br />
+<span style="margin-left: 1em;">classical ideas, <a href="#Page_89">89</a>, <a href="#Page_91">91</a></span><br />
+<br />
+Ghiberti, Vettorio: drawings, <a href="#Page_63">63</a>, <a href="#Page_74">74</a><br />
+<br />
+Ghini: Simone, <a href="#Page_88">88</a><br />
+<br />
+Giacomone da Faenza: drawings, <a href="#Page_155">155</a><br />
+<br />
+<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span>Gianfigliazzi: shield, <a href="#Page_68">68</a><br />
+<br />
+Gilbert, Alfred, R.A., <a href="#Page_82">82</a><br />
+<br />
+Giovanni da Pisa, <a href="#Page_75">75</a>, <a href="#Page_168">168</a>, <a href="#Page_190">190</a>, <a href="#Page_203">203</a><br />
+<br />
+Giuliano: Donatello's nephew, <a href="#Page_2">2</a>, <a href="#Page_202">202</a><br />
+<br />
+Goliath: statue (lost), <a href="#Page_199">199</a><br />
+<br />
+Gonzaga, Louis of: bust, <a href="#Page_127">127</a><br />
+<br />
+Gori: criticisms, <a href="#Page_93">93</a><br />
+<br />
+Gothic Art:<br />
+<span style="margin-left: 1em;">Donatello's relations with, <a href="#Page_5">5</a>, <a href="#Page_42">42</a>;</span><br />
+<span style="margin-left: 1em;">survivals of, <a href="#Page_91">91</a></span><br />
+<br />
+Gozzoli, Benozzo, <a href="#Page_9">9</a><br />
+<br />
+Grouping: Donatello's ideas of, <a href="#Page_30">30</a>, <a href="#Page_138">138</a>, <a href="#Page_142">142</a>, <a href="#Page_161">161</a><br />
+<br />
+Guidarelli: monument, <a href="#Page_171">171</a><br />
+<br />
+<br />
+<span class="smcap">Habakkuk</span>: statue, <a href="#Page_23">23</a><br />
+<br />
+Hands: Donatello's treatment of, <a href="#Page_31">31</a><br />
+<br />
+Henry VII.: tomb of, <a href="#Page_136">136</a><br />
+<br />
+Heraldic sculpture, <a href="#Page_67">67</a><br />
+<br />
+Hertford House: reliefs, <a href="#Page_110">110</a><br />
+<br />
+Hope: statuettes, <a href="#Page_71">71</a>, <a href="#Page_75">75</a><br />
+<br />
+Horse of Colleone, <a href="#Page_174">174</a>;<br />
+<span style="margin-left: 1em;">Gattamelata, <a href="#Page_173">173</a>;</span><br />
+<span style="margin-left: 1em;">Capodalista, <a href="#Page_174">174</a></span><br />
+<br />
+Horse's head: Naples, <a href="#Page_175">175</a><br />
+<br />
+Horses of St. Mark's, Venice, <a href="#Page_173">173</a>;<br />
+<span style="margin-left: 1em;">of Monte Cavallo, <a href="#Page_189">189</a></span><br />
+<br />
+<br />
+<span class="smcap">Icarus</span> in Greek Art, <a href="#Page_165">165</a><br />
+<br />
+Ilaria del Caretto: tomb, <a href="#Page_82">82</a><br />
+<br />
+Intarsia, <a href="#Page_161">161</a><br />
+<br />
+Isotta da Rimini, <a href="#Page_163">163</a><br />
+<br />
+<br />
+<span class="smcap">Jeremiah</span>: statue, <a href="#Page_20">20</a><br />
+<br />
+Jerome, St.: Faenza, <a href="#Page_148">148</a><br />
+<br />
+John XXIII.: <i>see</i> <a href="#Tombs">Tombs</a>, Coscia<br />
+<br />
+<a name="St_John">St. John</a> Bapt.:<br />
+<span style="margin-left: 1em;">Campanile statue, <a href="#Page_18">18</a>;</span><br />
+<span style="margin-left: 1em;">Martelli statue, <a href="#Page_56">56</a>;</span><br />
+<span style="margin-left: 1em;">Bargello statue, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>;</span><br />
+<span style="margin-left: 1em;">Dilke Collection, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">Orvieto, <a href="#Page_59">59</a>, <a href="#Page_147">147</a>;</span><br />
+<span style="margin-left: 1em;">Ancona, <a href="#Page_59">59</a>;</span><br />
+<span style="margin-left: 1em;">Rome, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">Faenza, <a href="#Page_119">119</a>;</span><br />
+<span style="margin-left: 1em;">Louvre, <a href="#Page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, bronze, <a href="#Page_146">146</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, terra-cotta, <a href="#Page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">Siena, <a href="#Page_146">146</a>;</span><br />
+<span style="margin-left: 1em;">Venice, <a href="#Page_146">146</a>;</span><br />
+<span style="margin-left: 1em;">Hainauer Collection, <a href="#Page_149">149</a></span><br />
+<br />
+St. John Ev.:<br />
+<span style="margin-left: 1em;">statue, <a href="#Page_14">14</a>;</span><br />
+<span style="margin-left: 1em;">reliefs, <a href="#Page_134">134</a></span><br />
+<br />
+Judith, <a href="#Page_140">140</a><br />
+<br />
+Justina, St.: at Padua, <a href="#Page_154">154</a><br />
+<br />
+<br />
+<span class="smcap">Kaufmann</span>:<br />
+<span style="margin-left: 1em;">Madonna, <a href="#Page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">statuette, <a href="#Page_189">189</a></span><br />
+<br />
+<br />
+<span class="smcap">Lafreri</span>: engraver, <a href="#Page_189">189</a><br />
+<br />
+Lasca, <a href="#Page_193">193</a><br />
+<br />
+Lavabo, San Lorenzo, <a href="#Page_67">67</a><br />
+<br />
+Laurana, F.: sculptor, <a href="#Page_131">131</a><br />
+<br />
+Leopardi, <a href="#Page_175">175</a><br />
+<br />
+Ligorio: architect, <a href="#Page_90">90</a><br />
+<br />
+Lille relief, <a href="#Page_5">5</a>, <a href="#Page_72">72</a>, <a href="#Page_113">113</a><br />
+<br />
+Lions in Florence, <a href="#Page_67">67</a>-9<br />
+<br />
+London collection:<br />
+<span style="margin-left: 1em;">Flagellation, <a href="#Page_62">62</a>;</span><br />
+<span style="margin-left: 1em;">charge to Peter, <a href="#Page_95">95</a>;</span><br />
+<span style="margin-left: 1em;">St. Cecilia, <a href="#Page_126">126</a>;</span><br />
+<span style="margin-left: 1em;">marble relief of woman, <a href="#Page_132">132</a>;</span><br />
+<span style="margin-left: 1em;">Magdalen, <a href="#Page_149">149</a>;</span><br />
+<span style="margin-left: 1em;">lamentation over dead Christ, <a href="#Page_165">165</a>;</span><br />
+<span style="margin-left: 1em;">shrine of St. Justina, <a href="#Page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">Martelli patera, <a href="#Page_176">176</a>;</span><br />
+<span style="margin-left: 1em;">Deposition, bronze, <a href="#Page_178">178</a>;</span><br />
+<span style="margin-left: 1em;">oval Madonna, <a href="#Page_184">184</a>;</span><br />
+<span style="margin-left: 1em;">bronze boy, <a href="#Page_115">115</a></span><br />
+<br />
+Lorenzo, San:<br />
+<span style="margin-left: 1em;">pulpits, <a href="#Page_107">107</a>, <a href="#Page_186">186</a>;</span><br />
+<span style="margin-left: 1em;">sacristy, <a href="#Page_133">133</a>, <a href="#Page_139">139</a>;</span><br />
+<span style="margin-left: 1em;">bronze doors, <a href="#Page_135">135</a>;</span><br />
+<span style="margin-left: 1em;">lavabo, <a href="#Page_191">191</a>;</span><br />
+<span style="margin-left: 1em;">statues perished, <a href="#Page_199">199</a></span><br />
+<br />
+Lorenzetti; early paintings, <a href="#Page_145">145</a><br />
+<br />
+Louis, St.:<br />
+<span style="margin-left: 1em;">bronze Santa Croce, <a href="#Page_38">38</a>;</span><br />
+<span style="margin-left: 1em;">bronze at Padua, <a href="#Page_155">155</a>, <a href="#Page_202">202</a></span><br />
+<br />
+Louvre collection:<br />
+<span style="margin-left: 1em;">Pot tomb, <a href="#Page_79">79</a>;</span><br />
+<span style="margin-left: 1em;">bronze by Valadier, <a href="#Page_97">97</a>;</span><br />
+<span style="margin-left: 1em;">marble Baptist, <a href="#Page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">drawings, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">Madonnas, <a href="#Page_181">181</a>-185;</span><br />
+<span style="margin-left: 1em;">painting of St. John, <a href="#Page_120">120</a>;</span><br />
+<span style="margin-left: 1em;">portrait of Donatello, <a href="#Page_195">195</a>;</span><br />
+<span style="margin-left: 1em;">Flagellation, <a href="#Page_177">177</a></span><br />
+<br />
+Lucca, Siege of, <a href="#Page_65">65</a><br />
+<br />
+Luke, St.: statue, <a href="#Page_124">124</a><br />
+<br />
+Lytton, Earl of, medallion portrait, <a href="#Page_82">82</a><br />
+<br />
+<br />
+<span class="smcap">Madonnas</span>:<br />
+<span style="margin-left: 1em;">Bardini, <a href="#Page_54">54</a>, <a href="#Page_178">178</a>, <a href="#Page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">Beckerath, <a href="#Page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, Pazzi, marble, <a href="#Page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">Orlandini, marble, <a href="#Page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">S.M.M. dei Pazzi, <a href="#Page_185">185</a>;</span><br />
+<span style="margin-left: 1em;">Brancacci, <a href="#Page_80">80</a>;</span><br />
+<span style="margin-left: 1em;">Capella Medici, group, <a href="#Page_185">185</a>;</span><br />
+<span style="margin-left: 1em;">Courajod, <a href="#Page_185">185</a>;</span><br />
+<span style="margin-left: 1em;">Dreyfus Desiderio, <a href="#Page_81">81</a>, <a href="#Page_177">177</a>;</span><br />
+<span style="margin-left: 1em;">delle Treppe, <a href="#Page_192">192</a>;</span><br />
+<span style="margin-left: 1em;">Eremitani, Paris, <a href="#Page_184">184</a>;</span><br />
+<span style="margin-left: 1em;">Fontainebleau, <a href="#Page_184">184</a>;</span><br />
+<span style="margin-left: 1em;">Kaufmann, <a href="#Page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">London-Weisbach, oval, <a href="#Page_184">184</a>;</span><br />
+<span style="margin-left: 1em;">Milan, Pierino da Vinci, <a href="#Page_81">81</a>;</span><br />
+<span style="margin-left: 1em;">Madonna of the Rose, London, <a href="#Page_183">183</a>;</span><br />
+<span style="margin-left: 1em;">Padua, large bronze, <a href="#Page_152">152</a>;</span><br />
+<span style="margin-left: 1em;">small relief, <a href="#Page_180">180</a>;</span><br />
+<span style="margin-left: 1em;">Pietra Piana, <a href="#Page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">Piot, Louvre, <a href="#Page_55">55</a>, <a href="#Page_183">183</a>;</span><br />
+<span style="margin-left: 1em;">Quincy Shaw, <a href="#Page_81">81</a>;</span><br />
+<span style="margin-left: 1em;">Siena Cathedral, <a href="#Page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">Verona, <a href="#Page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">Wemyss, Earl of, <a href="#Page_81">81</a></span><br />
+<br />
+Magdalen:<br />
+<span style="margin-left: 1em;">Florence baptistery, <a href="#Page_144">144</a>;</span><br />
+<span style="margin-left: 1em;">London, <a href="#Page_149">149</a>;</span><br />
+<span style="margin-left: 1em;">Berlin, <a href="#Page_149">149</a></span><br />
+<br />
+Malatesta Annalena: bust, <a href="#Page_130">130</a><br />
+<br />
+Mandorla door:<br />
+<span style="margin-left: 1em;">prophets, <a href="#Page_7">7</a></span><br />
+<span style="margin-left: 1em;">profile heads, <a href="#Page_34">34</a></span><br />
+<br />
+Manetti:<br />
+<span style="margin-left: 1em;">biographer, <a href="#Page_63">63</a>, <a href="#Page_195">195</a>;</span><br />
+<span style="margin-left: 1em;">supposed portrait, <a href="#Page_11">11</a></span><br />
+<br />
+Mantegna: relation to Donatello, <a href="#Page_96">96</a>, <a href="#Page_150">150</a>, <a href="#Page_161">161</a>, <a href="#Page_187">187</a><br />
+<br />
+Mark, St.: statue, <a href="#Page_37">37</a><br />
+<br />
+Martelli, David, <a href="#Page_52">52</a>, <a href="#Page_113">113</a>;<br />
+<span style="margin-left: 1em;">patera, <a href="#Page_176">176</a>;</span><br />
+<span style="margin-left: 1em;">shield, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">St. John, <a href="#Page_118">118</a></span><br />
+<br />
+Martin V.: tomb of, <a href="#Page_88">88</a><br />
+<br />
+Marzocco, <a href="#Page_67">67</a><br />
+<br />
+<span class="pagenum"><a name="Page_210" id="Page_210">[Pg 210]</a></span>Masaccio: paintings by, <a href="#Page_161">161</a>, <a href="#Page_164">164</a>, <a href="#Page_195">195</a><br />
+<br />
+Mataloni: horse's head, <a href="#Page_175">175</a><br />
+<br />
+Medallions in Medici palace, <a href="#Page_97">97</a><br />
+<br />
+Medallists, <a href="#Page_59">59</a>, <a href="#Page_82">82</a><br />
+<br />
+Medici:<br />
+<span style="margin-left: 1em;">fountain, <a href="#Page_166">166</a>;</span><br />
+<span style="margin-left: 1em;">exile, <a href="#Page_88">88</a>, <a href="#Page_97">97</a>;</span><br />
+<span style="margin-left: 1em;">medallions, <a href="#Page_97">97</a>;</span><br />
+<span style="margin-left: 1em;">Lorenzo de', <a href="#Page_175">175</a></span><br />
+<br />
+Medici, Capella, <a href="#Page_185">185</a><br />
+<br />
+Mengs, R.: criticism by, <a href="#Page_27">27</a>, <a href="#Page_93">93</a><br />
+<br />
+Meo: Donatello's assistant, <a href="#Page_168">168</a><br />
+<br />
+Michael Angelo:<br />
+<span style="margin-left: 1em;">Moses, <a href="#Page_15">15</a>;</span><br />
+<span style="margin-left: 1em;">technique, <a href="#Page_53">53</a>, <a href="#Page_101">101</a>;</span><br />
+<span style="margin-left: 1em;">San Petronio, <a href="#Page_71">71</a>;</span><br />
+<span style="margin-left: 1em;">relation to Donatello's art, <a href="#Page_192">192</a>;</span><br />
+<span style="margin-left: 1em;">Bacchus, <a href="#Page_192">192</a></span><br />
+<br />
+Michelozzo, <a href="#Page_39">39</a>, <a href="#Page_43">43</a>, <a href="#Page_48">48</a>;<br />
+<span style="margin-left: 1em;">partnership with Donatello, <a href="#Page_72">72</a>, <a href="#Page_201">201</a>;</span><br />
+<span style="margin-left: 1em;">Brancacci tomb, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">Aragazzi tomb, <a href="#Page_76">76</a>;</span><br />
+<span style="margin-left: 1em;">Prato pulpit, <a href="#Page_109">109</a>;</span><br />
+<span style="margin-left: 1em;">work at Milan, <a href="#Page_115">115</a>;</span><br />
+<span style="margin-left: 1em;">statues of St. John, <a href="#Page_149">149</a></span><br />
+<br />
+Mino da Fiesole, <a href="#Page_53">53</a>, <a href="#Page_191">191</a><br />
+<br />
+Miracle reliefs at Padua, <a href="#Page_156">156</a><br />
+<br />
+Mocenigo: tomb, <a href="#Page_14">14</a>, <a href="#Page_41">41</a><br />
+<br />
+Montepulciano, Pasquino da, <a href="#Page_75">75</a><br />
+<br />
+Montorsoli, <a href="#Page_46">46</a><br />
+<br />
+Morosini: medallion, <a href="#Page_97">97</a>, <a href="#Page_199">199</a><br />
+<br />
+Moses: statue, <a href="#Page_15">15</a><br />
+<br />
+<br />
+<span class="smcap">Nani</span>: Donatello's assistant, <a href="#Page_167">167</a><br />
+<br />
+Nanni di Banco, <a href="#Page_30">30</a>, <a href="#Page_190">190</a><br />
+<br />
+Naples:<br />
+<span style="margin-left: 1em;">Brancacci tomb, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">bronze horse's head, <a href="#Page_175">175</a></span><br />
+<br />
+Narni: <i>see</i> <a href="#Gattamelata">Gattamelata</a><br />
+<br />
+Neroccio: sculptor, <a href="#Page_70">70</a>, <a href="#Page_180">180</a>, <a href="#Page_192">192</a><br />
+<br />
+Niccol&#242; da Uzzano: bust, <a href="#Page_121">121</a><br />
+<br />
+Niccolo Niccoli, <a href="#Page_194">194</a><br />
+<br />
+Nollekens, <a href="#Page_62">62</a><br />
+<br />
+Nude: studies from, <a href="#Page_101">101</a><br />
+<br />
+<br />
+<span class="smcap">Obadiah</span>: statue, <a href="#Page_18">18</a><br />
+<br />
+d'Olanda, Francesco, <a href="#Page_193">193</a><br />
+<br />
+Orcagna, <a href="#Page_6">6</a><br />
+<br />
+Orlandini, Madonna, Berlin, <a href="#Page_181">181</a><br />
+<br />
+Orsa: Donatello's mother, <a href="#Page_2">2</a>, <a href="#Page_202">202</a><br />
+<br />
+Or san Michele: niche, <a href="#Page_63">63</a>, <a href="#Page_104">104</a><br />
+<br />
+Orvieto: Baptist for, <a href="#Page_59">59</a><br />
+<br />
+<br />
+<span class="smcap">Padua</span> in 1443, <a href="#Page_149">149</a>;<br />
+<span style="margin-left: 1em;">work for altar, <a href="#Page_149">149</a>-176, <a href="#Page_202">202</a></span><br />
+<br />
+Pagno di Lapo, <a href="#Page_78">78</a>, <a href="#Page_83">83</a><br />
+<br />
+Painter: Donatello as, <a href="#Page_59">59</a><br />
+<br />
+Parthenon, <a href="#Page_25">25</a>, <a href="#Page_105">105</a>, <a href="#Page_122">122</a><br />
+<br />
+Pasquino da Montepulciano, <a href="#Page_75">75</a><br />
+<br />
+Patera Martelli, <a href="#Page_176">176</a><br />
+<br />
+Pazzi, Madonna, Berlin, <a href="#Page_181">181</a><br />
+<br />
+Pazzi:<br />
+<span style="margin-left: 1em;">fountain, <a href="#Page_66">66</a>;</span><br />
+<span style="margin-left: 1em;">shield, <a href="#Page_68">68</a>;</span><br />
+<span style="margin-left: 1em;">frieze, <a href="#Page_135">135</a></span><br />
+<br />
+Pellegrini: chapel, <a href="#Page_135">135</a>, <a href="#Page_184">184</a><br />
+<br />
+Perseus, by Cellini, <a href="#Page_141">141</a><br />
+<br />
+Perugino: drawing by, <a href="#Page_60">60</a><br />
+<br />
+Peruzzi: drawings by, <a href="#Page_60">60</a><br />
+<br />
+Peter, St.: statue, <a href="#Page_36">36</a><br />
+<br />
+Petrarch, <a href="#Page_90">90</a><br />
+<br />
+Piero, Niccolo di; sculptor, <a href="#Page_124">124</a><br />
+<br />
+Piet&#224; at Padua, bronze, <a href="#Page_164">164</a><br />
+<br />
+Piot: Madonna, <a href="#Page_65">65</a><br />
+<br />
+Pisa: Donatello at, <a href="#Page_59">59</a>, <a href="#Page_78">78</a><br />
+<br />
+Pisano Niccolo, <a href="#Page_91">91</a><br />
+<br />
+Pistoja: silver altar, <a href="#Page_191">191</a><br />
+<br />
+Plaquettes, <a href="#Page_176">176</a><br />
+<br />
+Pocetti, B.: drawing of fa&#231;ade of Duomo, <a href="#Page_10">10</a><br />
+<br />
+Poggio:<br />
+<span style="margin-left: 1em;">statue, <a href="#Page_12">12</a>;</span><br />
+<span style="margin-left: 1em;">on Rome, <a href="#Page_90">90</a></span><br />
+<br />
+Politics, influence of, <a href="#Page_143">143</a><br />
+<br />
+Pollaiuolo: his battle-piece, <a href="#Page_179">179</a><br />
+<br />
+Polychromacy, <a href="#Page_121">121</a><br />
+<br />
+Portrait of Donatello, <a href="#Page_195">195</a><br />
+<br />
+Pot tomb, Louvre, <a href="#Page_79">79</a><br />
+<br />
+Prato pulpit, <a href="#Page_109">109</a><br />
+<br />
+Procdocimus, St.: at Padua, bronze, <a href="#Page_155">155</a><br />
+<br />
+Pulpit Prato, <a href="#Page_109">109</a><br />
+<span style="margin-left: 1em;">San Lorenzo, <a href="#Page_186">186</a></span><br />
+<br />
+<br />
+<span class="smcap">Quaratesi</span>: shield, <a href="#Page_68">68</a><br />
+<br />
+Quercia: Jacopo della, <a href="#Page_3">3</a>, <a href="#Page_70">70</a>, <a href="#Page_53">53</a>;<br />
+<span style="margin-left: 1em;">his school, <a href="#Page_191">191</a>;</span><br />
+<span style="margin-left: 1em;">Siena font, <a href="#Page_70">70</a></span><br />
+<br />
+<br />
+<span class="smcap">Realism</span>, <a href="#Page_26">26</a><br />
+<br />
+Reymond, Marcel: criticism, <a href="#Page_108">108</a><br />
+<br />
+Reynolds, Sir J.:<br />
+<span style="margin-left: 1em;">on drapery, <a href="#Page_31">31</a>;</span><br />
+<span style="margin-left: 1em;">on Gothic art, <a href="#Page_45">45</a></span><br />
+<br />
+Riccio, <a href="#Page_191">191</a><br />
+<br />
+Robbia:<br />
+<span style="margin-left: 1em;">Andrea della, <a href="#Page_104">104</a>;</span><br />
+<span style="margin-left: 1em;">Donatello's pall bearer, <a href="#Page_194">194</a></span><br />
+<br />
+Robbia:<br />
+<span style="margin-left: 1em;">Luca della, <a href="#Page_73">73</a>;</span><br />
+<span style="margin-left: 1em;">cantoria, <a href="#Page_106">106</a>, <a href="#Page_108">108</a>;</span><br />
+<span style="margin-left: 1em;">portraits by, <a href="#Page_125">125</a>;</span><br />
+<span style="margin-left: 1em;">bronze doors, <a href="#Page_135">135</a>, <a href="#Page_202">202</a>;</span><br />
+<span style="margin-left: 1em;">lunettes, <a href="#Page_151">151</a></span><br />
+<br />
+Rome:<br />
+<span style="margin-left: 1em;">Donatello's first journey to, <a href="#Page_4">4</a>;</span><br />
+<span style="margin-left: 1em;">statue of St. John at, <a href="#Page_57">57</a>;</span><br />
+<span style="margin-left: 1em;">Crivelli tomb, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">Donatello's second journey to, <a href="#Page_88">88</a>;</span><br />
+<span style="margin-left: 1em;">Rome in 1433, <a href="#Page_88">88</a>;</span><br />
+<span style="margin-left: 1em;">tabernacle in St. Peter's, <a href="#Page_94">94</a></span><br />
+<br />
+Rossellino, <a href="#Page_66">66</a>, <a href="#Page_91">91</a>, <a href="#Page_119">119</a>, <a href="#Page_191">191</a><br />
+<br />
+Rosso: sculptor, <a href="#Page_18">18</a>, <a href="#Page_191">191</a><br />
+<br />
+Rossore, San: bust, <a href="#Page_130">130</a>, <a href="#Page_201">201</a><br />
+<br />
+<br />
+<span class="smcap">Savonarola</span>, <a href="#Page_21">21</a><br />
+<br />
+Sebastian, St.:<br />
+<span style="margin-left: 1em;">bronze, M. Andr&#233;, <a href="#Page_177">177</a></span><br />
+<span style="margin-left: 1em;">wood (now lost), <a href="#Page_199">199</a></span><br />
+<br />
+Sense of distance, <a href="#Page_23">23</a><br />
+<span style="margin-left: 1em;">light and shade, <a href="#Page_29">29</a></span><br />
+<span style="margin-left: 1em;">proportion, <a href="#Page_30">30</a></span><br />
+<span style="margin-left: 1em;">nature, <a href="#Page_27">27</a></span><br />
+<br />
+Sermoneta: Duca di, <a href="#Page_9">9</a><br />
+<br />
+Shields:<br />
+<span style="margin-left: 1em;">heraldic, <a href="#Page_67">67</a>;</span><br />
+<span class="pagenum"><a name="Page_211" id="Page_211">[Pg 211]</a></span><span style="margin-left: 1em;">Martelli, <a href="#Page_68">68</a></span><br />
+<br />
+Siena:<br />
+<span style="margin-left: 1em;">cathedral font, <a href="#Page_70">70</a>, <a href="#Page_201">201</a>;</span><br />
+<span style="margin-left: 1em;">figures from font, <a href="#Page_114">114</a>, <a href="#Page_105">105</a>;</span><br />
+<span style="margin-left: 1em;">Pecci tomb, <a href="#Page_84">84</a>;</span><br />
+<span style="margin-left: 1em;">marble Madonna, <a href="#Page_181">181</a>;</span><br />
+<span style="margin-left: 1em;">St. John Baptist, <a href="#Page_146">146</a>;</span><br />
+<span style="margin-left: 1em;">statues on fa&#231;ade, <a href="#Page_175">175</a></span><br />
+<br />
+Simone: sculptor, <a href="#Page_2">2</a>, <a href="#Page_88">88</a>, <a href="#Page_191">191</a><br />
+<br />
+Soderini: supposed portrait of, <a href="#Page_20">20</a><br />
+<br />
+Sogliani, T.: work on Magdalen, <a href="#Page_144">144</a><br />
+<br />
+Sportello Venice, <a href="#Page_177">177</a><br />
+<span style="margin-left: 1em;">Siena, <a href="#Page_71">71</a></span><br />
+<br />
+Squarcione, <a href="#Page_150">150</a><br />
+<br />
+Stiacciato, <a href="#Page_80">80</a><br />
+<br />
+Strabo: on marble, <a href="#Page_78">78</a><br />
+<br />
+Strozzi Filippo, <a href="#Page_91">91</a><br />
+<br />
+Strozzi Palla, <a href="#Page_150">150</a><br />
+<br />
+Summonte, <a href="#Page_194">194</a><br />
+<br />
+Sword hilt at Turin, <a href="#Page_176">176</a><br />
+<br />
+Symbols of Evangelists: Padua, <a href="#Page_161">161</a><br />
+<br />
+<br />
+<span class="smcap">Tabernacle</span> in Rome, <a href="#Page_94">94</a><br />
+<br />
+Technique: Donatello's, <a href="#Page_53">53</a><br />
+<br />
+Tita: Donatello's sister, <a href="#Page_2">2</a>, <a href="#Page_202">202</a><br />
+<br />
+<a name="Tombs">Tombs</a>:<br />
+<span style="margin-left: 1em;">Coscia, drawings for, <a href="#Page_61">61</a>;</span><br />
+<span style="margin-left: 1em;">history of, <a href="#Page_72">72</a>;</span><br />
+<span style="margin-left: 1em;">Brancacci, <a href="#Page_73">73</a>, <a href="#Page_77">77</a>;</span><br />
+<span style="margin-left: 1em;">Assumption, <a href="#Page_80">80</a>;</span><br />
+<span style="margin-left: 1em;">Martin V., <a href="#Page_88">88</a>;</span><br />
+<span style="margin-left: 1em;">Aragazzi, <a href="#Page_73">73</a>, <a href="#Page_76">76</a>;</span><br />
+<span style="margin-left: 1em;">Medici Giovanni de', <a href="#Page_72">72</a>;</span><br />
+<span style="margin-left: 1em;">Caretto, <a href="#Page_82">82</a>;</span><br />
+<span style="margin-left: 1em;">Sixtus IV., <a href="#Page_82">82</a>;</span><br />
+<span style="margin-left: 1em;">Albizzi, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">Chellini, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">Accaiuoli, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">Crivelli, <a href="#Page_83">83</a>;</span><br />
+<span style="margin-left: 1em;">Pecci, <a href="#Page_84">84</a>;</span><br />
+<span style="margin-left: 1em;">Scaligers, <a href="#Page_86">86</a>;</span><br />
+<span style="margin-left: 1em;">Rococo style, <a href="#Page_87">87</a>;</span><br />
+<span style="margin-left: 1em;">Saltarello, <a href="#Page_109">109</a>;</span><br />
+<span style="margin-left: 1em;">Fulgosio, <a href="#Page_168">168</a>;</span><br />
+<span style="margin-left: 1em;">Gattamelata, <a href="#Page_171">171</a>;</span><br />
+<span style="margin-left: 1em;">Roycelli, <a href="#Page_170">170</a></span><br />
+<br />
+Torrigiano, <a href="#Page_80">80</a>, <a href="#Page_136">136</a><br />
+<br />
+Turin sword hilt, <a href="#Page_176">176</a><br />
+<br />
+Turini, <a href="#Page_70">70</a>, <a href="#Page_192">192</a><br />
+<br />
+<br />
+<span class="smcap">Ucello</span>, Paolo: painter, <a href="#Page_69">69</a>, <a href="#Page_195">195</a><br />
+<br />
+Uffizzi gallery: drawings, <a href="#Page_60">60</a><br />
+<br />
+Urbano da Cortona, <a href="#Page_191">191</a><br />
+<br />
+Uzzano, Niccol&#242; da: bust, <a href="#Page_121">121</a><br />
+<br />
+<br />
+<span class="smcap">Valadier</span>: sculptor, <a href="#Page_97">97</a><br />
+<br />
+Valente: Donatello's assistant, <a href="#Page_168">168</a>, <a href="#Page_203">203</a><br />
+<br />
+Vandalism, <a href="#Page_8">8</a><br />
+<span style="margin-left: 1em;">in Rome, <a href="#Page_88">88</a></span><br />
+<br />
+Vasari: passim<br />
+<br />
+Vecchietta: sculptor, <a href="#Page_191">191</a><br />
+<br />
+Venice: horses of St. Mark's, <a href="#Page_173">173</a><br />
+<span style="margin-left: 1em;">statue of St. John, <a href="#Page_146">146</a></span><br />
+<span style="margin-left: 1em;">Sportello, <a href="#Page_177">177</a></span><br />
+<br />
+Verdiana, St.: reliquary, <a href="#Page_200">200</a><br />
+<br />
+Verona:<br />
+<span style="margin-left: 1em;">Madonna, <a href="#Page_182">182</a>;</span><br />
+<span style="margin-left: 1em;">sculpture on cathedral, <a href="#Page_124">124</a>;</span><br />
+<span style="margin-left: 1em;">sculpture on San Zeno, <a href="#Page_124">124</a></span><br />
+<br />
+Verrocchio, <a href="#Page_73">73</a>, <a href="#Page_99">99</a>, <a href="#Page_101">101</a>, <a href="#Page_105">105</a>, <a href="#Page_174">174</a><br />
+<br />
+Vienna: entombment, <a href="#Page_177">177</a><br />
+<br />
+Vinci: Leonardo da, <a href="#Page_22">22</a>, <a href="#Page_29">29</a>, <a href="#Page_66">66</a><br />
+<br />
+Visconti, Marquise A.: Collection,  <a href="#Page_132">132</a>, <a href="#Page_185">185</a><br />
+<br />
+<br />
+<span class="smcap">Wallace</span> Collection: reliefs, <a href="#Page_110">110</a><br />
+<br />
+Warfare: Donatello and, <a href="#Page_65">65</a><br />
+<br />
+Weisbach: Madonna, <a href="#Page_184">184</a><br />
+<br />
+Wemyss, Earl of, collection:<br />
+<span style="margin-left: 1em;">Madonna, <a href="#Page_81">81</a>;</span><br />
+<span style="margin-left: 1em;">St. Cecilia, <a href="#Page_172">172</a>;</span><br />
+<span style="margin-left: 1em;">Walpole eagle, <a href="#Page_162">162</a></span><br />
+<br />
+Wood: employment in sculpture, <a href="#Page_148">148</a><br />
+<br />
+<br />
+<span class="smcap">Zeno, San</span>: Verona, <a href="#Page_124">124</a><br />
+<br />
+Zuccone: statue, <a href="#Page_26">26</a>, <a href="#Page_96">96</a><br />
+</p>
+
+<hr style="width: 45%;" />
+<p style="text-align: center">
+Printed by <span class="smcap">Ballantyne, Hanson &amp; Co.</span><br />
+London &amp; Edinburgh<br />
+</p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center"><b>Uniform with this Volume</b></p>
+
+<h3>MICHAEL ANGELO BUONARROTI</h3>
+
+<p style="text-align: center"><b>BY</b></p>
+
+<p style="text-align: center"><b>CHARLES HOLROYD</b></p>
+
+<p style="text-align: center">CURATOR OF THE NATIONAL GALLERY OF BRITISH ART</p>
+
+<p style="text-align: center"><b>With Fifty-two Illustrations</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<p>&quot;Mr. Holroyd has done excellent service. This story of a marvellous
+career is full of human charm.... Valuable book.&quot;&#8212;<i>Standard.</i></p>
+
+<p>&quot;A serviceable and competent biography which many will be glad to
+see.... Numerous and excellent illustrations.&quot;&#8212;<i>Literary World.</i></p>
+
+<p>&quot;A book that both the student and the general reader will find full of
+interest. Extremely interesting and vividly recorded.&quot;&#8212;<i>Westminster
+Gazette.</i></p>
+
+<p>&quot;Mr. Holroyd's comprehensive study will be found useful and
+interesting. The illustrations are numerous and good.&quot;&#8212;<i>Manchester
+Guardian.</i></p>
+
+<p>&quot;A really admirable picture of one who is perhaps the greatest
+personality in the history of Art; and a sympathetic, yet critical
+account of his works. Mr. Holroyd writes with knowledge and
+enthusiasm.... Numerous and well-executed illustrations.&quot;&#8212;<i>Yorkshire
+Post.</i></p>
+
+<p>&quot;This excellent work ... is as suited to the general reader as to the
+artist. We do not find those deserts of literary speculation so common
+to the lives of artists.&quot;&#8212;<i>Spectator.</i></p>
+
+<p>&quot;The volume gives in a convenient form almost everything that the
+student for whom it is intended will need to know about Michael
+Angelo, and will prove a safe guide to his works. The illustrations
+are well chosen.... We are especially grateful for the engravings of
+those frescoes in the Pauline Chapel which every one writes about and
+no one publishes.&quot;&#8212;<i>New York Evening Post.</i></p>
+
+<hr style="width: 45%;" />
+
+<p style="text-align: center">THE PUBLISHERS HAVE ARRANGED TO ISSUE A</p>
+
+<h3>LIBRARY OF ART</h3>
+
+<p style="text-align: center">IN STYLE SIMILAR TO THIS VOLUME</p>
+
+
+<p><i>ALL SCHOOLS AND PERIODS will be represented, but only the Greatest
+Masters will emerge as Biographies. The rest will be treated in
+relation to their fellows and forerunners as incidents of a
+development.</i></p>
+
+<p><i>The Series will, it is hoped, reflect the subject in its true
+proportions more closely than has been attempted hitherto. At the same
+time, the scope of the Series will admit of occasional monographs on
+little-known artists, when some specialist has been able to throw
+light by new researches on an obscure period. The &#230;sthetic side will
+not be neglected, but the aim will be to make the Series a store-house
+of that positive knowledge which must form the basis of all opinion.</i></p>
+
+<p style="text-align: center"><i>The following is a List of the Volumes now arranged for</i></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>THE CRITICISM OF ART</h3>
+
+<p style="text-align: center"><b>By A.J. FINBERG</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>SIX GREEK SCULPTORS</h3>
+
+<p style="text-align: center">
+MYRON, PHEIDIAS<br />
+POLYKLEITOS, SKOPAS, PRAXITELES, AND LYSIPPOS<br />
+</p>
+
+<p style="text-align: center"><b>By ERNEST GARDNER</b></p>
+
+<p style="text-align: center">Professor of Greek Arch&#230;ology at University College, London</p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>ROMAN ART, FROM AUGUSTUS TO CONSTANTINE</h3>
+
+<p style="text-align: center"><b>By Mrs. ARTHUR STRONG</b> (<span class="smcap">Eug&#232;nie Sellers</span>), <b>LL.D.</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>MEDI&#198;VAL ART, TO GIOTTO</h3>
+
+<p style="text-align: center"><b>By W.R. LETHABY</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>DUCCIO, AND THE BEGINNINGS OF ITALIAN PAINTING</h3>
+
+<p style="text-align: center"><b>By PROFESSOR LANGTON DOUGLAS</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>GIOTTO</h3>
+
+<p style="text-align: center"><b>By B. DE SELINCOURT</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>GHIRLANDAJO AND THE EARLIER FLORENTINES</h3>
+
+<p style="text-align: center"><b>By BECKWITH SPENCER</b></p>
+
+<p style="text-align: center">Assistant Professor at the South Kensington School of Art</p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>DONATELLO</h3>
+
+<p style="text-align: center"><b>By LORD BALCARRES</b></p>
+<p style="text-align: right">[<i>Ready.</i></p>
+
+
+
+<h3>PISANELLO</h3>
+
+<p style="text-align: center"><b>By G.F. HILL</b></p>
+
+<p style="text-align: center">Of the Department of Coins and Medals in the British Museum</p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>THE THREE BELLINI AND THE EARLIER VENETIANS</h3>
+
+<p style="text-align: center"><b>By G. McNEIL RUSHFORTH</b></p>
+
+<p style="text-align: center">Late Director of the British School at Rome</p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>MICHAEL ANGELO BUONARROTI</h3>
+
+<p style="text-align: center"><b>By CHARLES HOLROYD</b></p>
+<p style="text-align: right">[<i>Ready.</i></p>
+
+
+<h3>RAPHAEL AND HIS SCHOOL IN ROME</h3>
+
+<p style="text-align: center"><b>By C. RICKETTS</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>TITIAN</h3>
+
+<p style="text-align: center"><b>By DR. GEORG GRONAU</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>D&#220;RER</h3>
+
+<p style="text-align: center"><b>By T. STURGE MOORE</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>CORREGGIO</h3>
+
+<p style="text-align: center"><b>By T. STURGE MOORE</b></p>
+
+
+<p style="text-align: center">&#160;</p>
+
+
+<h3>FRENCH PAINTING IN THE SIXTEENTH CENTURY</h3>
+<p style="text-align: center"><b>By L. DIMIER</b></p>
+<p style="text-align: right">[<i>Immediately.</i></p>
+
+
+<hr style="width: 65%;" />
+<h2>FOOTNOTES</h2>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Gaye, Carteggio, i. 120. See
+  <a href="#APPENDIX_II">Appendix II.</a> A.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> Cinelli, p. 22.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> 23, xii. 1418.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> 12, xii. 1408.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> 30, v. 1421.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> Osservatore Fiorentino, 1797, 3rd ed., iv. 216.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> Daniel i. 15.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> Semper, I., p. 132.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> Schmarsow, p. 10.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> The conclusion of Dello's epitaph, as recorded by
+Vasari, is H.S.E.S.T.T.L.&#8212;<i>i.e.</i>, <i>Hic sepultus est, sit tibi terra
+levis</i>. The bas-relief of Faith in the Bargello is signed O.M.C.L.,
+<i>i.e.</i>, <i>Opus Matt&#230;i Civitali Lucensis</i>. There is a manuscript of St.
+Jerome in the Rylands Library at Manchester in which long texts are
+quoted by means of the initial letters alone.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> MS. Sketch-Book in Bibl. Naz., Florence, lettered
+&quot;Ghiberti,&quot; folio 51a.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> <i>Cf.</i> Madame Andr&#233;'s prophet and figures on Mandorla
+door.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> On the Brenzoni tomb in the Church of San Fermo: &quot;Quem
+genuit Russi Florentia Tusca Joha&#241;is: istud sculpsit opus ingeniosa
+manus.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> Pliny, xxxiv. 19, 3.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> Bargello David.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> In 1496. See Gruyer, &quot;Les Illustrations,&quot; 1879, p. 206.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> C. M&#252;ller, &quot;Ancient Art and its Remains,&quot; p. 227.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> Pliny, xxxvi. 44.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> Printed in Richter's &quot;Literary Works of Leonardo da
+Vinci,&quot; vol. i.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> By Francis Grose, the Antiquary. London, 1788.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> Edition 1768, p. 74.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>E.g.</i>, Milanesi, Catalogo, 1887, p. 6.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> Cinelli's edition, 1677, p. 45.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> Raffaelle Mengs, Collected Works. London, 1796, I., p.
+132.</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Printed in Vasari, Lemonnier Ed., 1846, vol. i.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> In Introduction to his translation of Tacitus.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Discourses, 1778, p. 116.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> They were standing as late as 1768. Baldinucci, p. 79.</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> Memoriale, 1510.</p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> Cinelli ed., p. 66.</p></div>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Bocchi, 1765 ed., p. 128.</p></div>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> <i>Spira il volto divozione e Santit&#224;</i>, Cinelli, p. 66.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Gualandi, &quot;Memorie,&quot; Series 4, p. 106.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> &quot;Eccelenza della Statua del San Giorgio di Donatello,&quot;
+1571.</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> Bellezze, 1677, p. 67.</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> &quot;La Sculpture Florentine,&quot; vol. ii. p. 91.</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> Victoria and Albert Museum, 7607, 1861.</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Uffizzi, frame 49.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> Eremitani, Padua, about 1448-50.</p></div>
+
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> &quot;M&#233;langes d'Histoire,&quot; p. 248.</p></div>
+
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> Introduction, i. 122.</p></div>
+
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> &quot;Vita de' Architetti,&quot; 53.</p></div>
+
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> <i>Ibid.</i> 151.</p></div>
+
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> &quot;Discourses,&quot; 1778, p. 237.</p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> &quot;Qua propter si primas et secundarias et subsecundarias
+vulgaris Ytalie variationes calculare velimus, in hoc minimo mundi
+angulo, non solum ad millenam loquele variationem venire contigerit,
+sed etiam at magis ultra.&quot;&#8212;De Vulg. Eloq. Lib., I., cap. x. &#167; 8.</p></div>
+
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> 23, iv. 1448.</p></div>
+
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> Vasari, iii. 247.</p></div>
+
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> In the Capella Gondi, Santa Maria Novella.</p></div>
+
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> In San Giorgio Maggiore, Venice.</p></div>
+
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> Borghini, Donatello's earliest work. Semper, 1406.
+Schmarsow, 1412. Bode, before the second journey to Rome in 1433.
+Reymond, 1435.</p></div>
+
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> <i>E.g.</i>, on the Or San Michele niche, round the Trinity.
+Verrocchio also used it on his sketch model for the Forteguerri tomb,
+Victoria and Albert Museum, No. 7599, 1861.</p></div>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> <i>E.g.</i>, Pacifico tomb about 1438 and the Francesco
+Foscari tomb about 1457, both in the Frari.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> &quot;Due Trattati di Benvenuto Cellini,&quot; ed. Carlo Milanesi,
+1857. Ch. 6 on marble.</p></div>
+
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> <i>Cf.</i> <i>Putti</i> on the Roman Tabernacle.</p></div>
+
+<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Bocchi, p. 316.</p></div>
+
+<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> &quot;Memoriale di molte statue e pitture della citt&#224; di
+Firenze,&quot; 1510.</p></div>
+
+<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> Or San Michele niche, San Lorenzo Evangelists.</p></div>
+
+<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> In the Berlin Gallery.</p></div>
+
+<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> Berlin Museum.</p></div>
+
+<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> All three in Bargello.</p></div>
+
+<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> See
+  <a href="#Page_185">p. 185</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> Bocchi, 23. Like the David, it used to live out of
+doors, until in 1755 Nicolaus Martelli &quot;in aedes suas transtulit.&quot; Its
+base dates from 1794.</p></div>
+
+<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> It was acquired for nine zechins in 1784. Madame Andr&#233;
+has a version in stucco, on rather a larger scale. A marble version
+from the Strawberry Hill Collection now belongs to Sir Charles Dilke,
+M.P.</p></div>
+
+<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> Domopera archives, 12, viii., 1412.</p></div>
+
+<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> <i>Ibid.</i>, 31, xii., 1407.</p></div>
+
+<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Padua, 3, iv., 1443.</p></div>
+
+<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> When working at Pisa in 1427. See Centofanti, p. 4.</p></div>
+
+<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> Commission for bronze Baptist for Ancona, 1422.</p></div>
+
+<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> Contract in Orvieto archives, 10, ii., 1423.</p></div>
+
+<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> Domopera, 2, ix., 1429.</p></div>
+
+<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> <i>Ibid.</i> 18, iii., 1426.</p></div>
+
+<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> &quot;Due Trattati,&quot; ch. xii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> Pomponius Gauricus, &quot;De Sculptura,&quot; 1504, p. b, iii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> April 1434.</p></div>
+
+<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> See <i>American Journal of Arch.</i>, June 1900.</p></div>
+
+<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> The so-called St. George in the Royal Library at Windsor
+has been determined by Mr. R. Holmes to be Perugino's study for the
+St. Michael in the National Gallery triptych. In the Uffizzi several
+pen-and-ink drawings are attributed to Donatello. The four eagles, the
+group of three peasants, the two figures seen from behind (Frame 5,
+No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript
+studies in which no specific sign of Donatello appears. The five
+winged <i>Putti</i> (Frame 7, No. 40 f.) and the two studies of the Madonna
+(Frame 7, No. 38 f.) are more Donatellesque, but they show the
+niggling touch of some draughtsman who tried to make a sketch by mere
+indications with his pen. There is also a study in brown wash of the
+Baptistery Magdalen: probably made from, and not for, the statue. The
+Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle
+Collections) of the three Maries at the Tomb, or perhaps a fragment of
+a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt
+composition, made with very strong lines. It may be noted that the
+eyes are roughly suggested by circles, a mannerism which recurs in
+several drawings ascribed to Donatello. This was also a trick of
+Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &amp;c.). In the
+British Museum there is an Apostle holding a book (No. 1860, 6. 13.
+31), with a Donatellesque hand and forearm; also a Lamentation over
+the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings,
+but the positive evidence of Donatello's authorship is <i>nil</i>. Mr.
+Gathorne Hardy's drawing, which has been ascribed to Donatello, is
+really by Mantegna, a capital study for one of the frescoes in the
+Eremitani.</p></div>
+
+<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> Uffizzi, Frame 6, No. 6347 f.</p></div>
+
+<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> See Life by J.T. Smith, 1828.</p></div>
+
+<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> Victoria and Albert Museum, No. 7619, 1861. This sketch,
+which appears to have been made for the Forzori family, has been
+mistaken for a study for the San Lorenzo pulpit.</p></div>
+
+<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> The niche was completed about 1424-5. There is a drawing
+of it in Vettorio Ghiberti's Note-book, p. 70. Landucci, in his
+&quot;Diario Fiorentino,&quot; says that Verrocchio's group was placed in it on
+June 21, 1483.</p></div>
+
+<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> <i>Cf.</i> Payments to Andrea Moscatello, for painted and
+glazed terra-cotta for the Paduan altar. May 1449.</p></div>
+
+<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> From the Residenza dell' arte degli Albergatori, and
+that of the Rigattieri of Florence, figured on plates xii. and xv. of
+Carocci's &quot;Ricordi del Mercato Vecchio,&quot; 1887.</p></div>
+
+<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> <i>Cf.</i> Payments for work on &quot;<i>Archi de la balcon&#224; de lo
+lavoriero de la +</i>,&quot; <i>i.e.</i>, the crociera of the church, March 30 and
+April 11, 1444.</p></div>
+
+<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> Siena Library.</p></div>
+
+<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> Domopera, 7, vii. 1433.</p></div>
+
+<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> <i>Cf.</i> those high up on the Loggia de' Lanzi, or in other
+Tuscan towns where the climate was not more severe, but where there
+was less cash or inclination to replace the shields which were worn
+away.</p></div>
+
+<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> The marble original is now in the Bargello, and has been
+replaced by a bronze <i>replica</i>, which occupies the old site on the
+Ringhiera of the Palazzo Pubblico. Lions were popular in Florence.
+Albertini mentions an antique porphyry lion in the Casa Capponi, much
+admired by Lorenzo de' Medici. Paolo Ucello painted a lion fight for
+Cosimo. The curious rhymed chronicle of 1459 describes the lion fights
+in the great Piazza (&quot;Rer. It. Script.,&quot; ii. 722). Other cases could
+be quoted. Donatello also made a stone lion for the courtyard of the
+house used by Martin V. during his visit to Florence in 1419-20.</p></div>
+
+<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> 9. v. 1427. Milanesi, ii. 134.</p></div>
+
+<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> Lusini, 28.</p></div>
+
+<div class="footnote"><p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> See &quot;Arch. Storico dell' Arte,&quot; 1893, p. 209.</p></div>
+
+<div class="footnote"><p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> &quot;De Sculptura,&quot; 1504, folio e. 1. On the other hand, the
+sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and
+artillery for the Venetian Republic.</p></div>
+
+<div class="footnote"><p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> <i>Op. cit.</i> p. 70. In this drawing two <i>putti</i> are also
+shown holding a shield, above the monument; this has now
+disappeared.</p></div>
+
+<div class="footnote"><p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> The effigy is placed in a niche close to the great door
+of the Cathedral, put there &quot;lest the memory of so distinguished a man
+should perish&quot;&#8212;&quot;<i>Simulacrum ejus diu neglectum, ne tanti viri memoria
+penitus deleretur, Politiana pietas hic collocandum curavit anno
+MDCCCXV</i>.&quot; The remainder consists of a frieze now incorporated in the
+high altar, on either side of which stand two caryatides. The Christ
+Blessing is close by. Two bas-reliefs are inserted into pillars
+opposite the effigy.</p></div>
+
+<div class="footnote"><p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> &quot;Letters,&quot; Florence ed. 1741, vol. ii. 45.</p></div>
+
+<div class="footnote"><p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> Donatello worked there for eighteen months. See
+documents in Centofanti, p. 4, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> &quot;<i>... Lapides albi et discolores ad c&#339;ruleum vergente
+specie.</i>&quot; Strabo, &quot;Geog.,&quot; 1807 ed., I. v. p. 314.</p></div>
+
+<div class="footnote"><p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> Louvre, No. 216. Tomb of Philippe Pot, circa 1480.</p></div>
+
+<div class="footnote"><p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> &quot;Vita di Michael Angelo,&quot; Rome, 1553, p. 49.</p></div>
+
+<div class="footnote"><p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a> Victoria and Albert Museum, Charge to Peter. See
+  <a href="#Page_95">p. 95</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a> British Museum, Assyrian Saloon, Nos. 63-6.</p></div>
+
+<div class="footnote"><p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a> Bode, &quot;Florentiner Bildhauer,&quot; p. 119.</p></div>
+
+<div class="footnote"><p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a> In the Museo Archeologico in the Castello, unnumbered.</p></div>
+
+<div class="footnote"><p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a> By Alfred Gilbert, R.A., belonging to the present Earl
+of Lytton.</p></div>
+
+<div class="footnote"><p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a> See Armand, &quot;Les M&#233;dailleurs Italiens,&quot; 1887, iii. p.
+3.</p></div>
+
+<div class="footnote"><p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a> Wreaths and <i>putti</i> form its decoration, and though
+Donatellesque, they are not by Donatello. This was pointed out as
+early as 1819. See &quot;Monumenti Sepolcrali della Toscana,&quot; p. 28.</p></div>
+
+<div class="footnote"><p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a> Bocchi, 354.</p></div>
+
+<div class="footnote"><p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a> Bull., &quot;Cum primum,&quot; &#167; 6, &quot;<i>et ut in ecclesiis nihil
+indecens relinquatur, iidem provideant, ut caps&#230; omnes, et deposita,
+seu alia cadaverum, conditoria super terram existentia omnino
+amoveantur, pro ut alias statutum fuit, et defunctorum corpora in
+tumbis profundis, infra terram collocentur</i>.&quot; Bullarium, 1566, vol.
+iv., part ii., p. 285. For the whole question of the evolution of
+these tombs, see Dr. von Lichtenberg's valuable book, &quot;Das Portr&#228;t an
+Grabdenkmalen,&quot; Strassburg, 1902.</p></div>
+
+<div class="footnote"><p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a> See &quot;Archivio Storico dell' Arte,&quot; 1888, p. 24, &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a> In Santo Stefano, Cortile di Pilato.</p></div>
+
+<div class="footnote"><p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a> &quot;Misc. Storica Senese,&quot; 1893, p. 30.</p></div>
+
+<div class="footnote"><p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a> See
+  <a href="#Page_171">p. 171</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a> From the Duchess of Malfi, quoted in Symonds' &quot;Fine
+Arts,&quot; p. 114.</p></div>
+
+<div class="footnote"><p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a> It is a bronze slab, admirably wrought and preserved,
+in S. Giovanni Laterano. Were it not for an exuberance of decoration,
+one might say that Donatello was responsible for it; the main lines
+certainly harmonise with his work. Simone Ghini was mistaken by Vasari
+for Donatello's somewhat problematical brother Simone.</p></div>
+
+<div class="footnote"><p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a> See Codex. Just. Leg. 2. Cod. de &#230;dif. privatis. A
+similar law at Herculaneum had forbidden people to make more money by
+breaking up a house than they paid for the house itself, under penalty
+of being fined double the original outlay. This shows the extent of
+speculative destruction. Reinesius, &quot;Synt. Inscript. Antiq.,&quot; 475, No.
+2.</p></div>
+
+<div class="footnote"><p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a> See his Libellus in &quot;Rer. Gall. Script.,&quot; xiv. 313.</p></div>
+
+<div class="footnote"><p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a> <i>Nihil fere recognoscat quod priorem urbem
+repr&#230;sentet</i>, in &quot;De Varietate fortun&#230; urbis Rom&#230;.&quot; Nov. Thes. Antiq.
+Rom., i. 502.</p></div>
+
+<div class="footnote"><p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a> &quot;Ricordi,&quot; 1544. No. 109, p. 51.</p></div>
+
+<div class="footnote"><p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a> Written about 1450. &quot;De re &#230;dificatoria.&quot; Paris ed.
+1553, p. 165.</p></div>
+
+<div class="footnote"><p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a> <i>Cf.</i> Plate 49 in &quot;Le Rovine di Roma.&quot; &quot;Tempio
+circolare.&quot; Written beside it is &quot;<i>Questo sie uno tempio lo quale e
+Atiuero</i> (i.e., <i>che &#232; presso al Tevere</i>) <i>dove se chauaue li prede
+antigha mente</i> (i.e., <i>si cavavano le pietre anticamente</i>).&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a> Vasari, &quot;Proemio,&quot; i. 212.</p></div>
+
+<div class="footnote"><p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> <i>Cosa allora rara, non essendosi dissotterata quella
+abbondanza che si &#232; fatta ne' tempi nostri</i>, i. 203.</p></div>
+
+<div class="footnote"><p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a> &quot;2nd Commentary,&quot; in Vasari, I. xxviii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a> Gaye, i. 360.</p></div>
+
+<div class="footnote"><p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a> <i>Cf.</i> the action of the Directory in year vi. of the
+French Republic. They ordered the statues looted in Italy to be
+paraded in Paris&#8212;hoping to find the clue to ancient supremacy. Louis
+David pointedly observed, &quot;<i>La vue ... formera peut-&#234;tre des savans,
+des Winckelmann: mais des artistes, non</i>.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a> &quot;Works,&quot; 1796, i. 151.</p></div>
+
+<div class="footnote"><p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a> &quot;Lectures,&quot; 1838, p. 248.</p></div>
+
+<div class="footnote"><p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a> Semper, p. 93.</p></div>
+
+<div class="footnote"><p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a> Ed. 1768, p. 74.</p></div>
+
+<div class="footnote"><p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a> &quot;Donatellus, qui primum omnium vetustis monumentis
+mirifice delectatus est, eaque imitari ac probe exprimere in suis
+operibus adsidue studuit.&quot;&#8212;&quot;Dactyliotheca Smithiana,&quot; 1768, II. p.
+cxxvi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a> See Schmarsow, p. 32.</p></div>
+
+<div class="footnote"><p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a> See &quot;Arch. Storico dell' Arte,&quot; 1888, p. 24.</p></div>
+
+<div class="footnote"><p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a> Victoria and Albert Museum, No. 7629, 1861. Bocchi
+says: &quot;<i>Un quadro di marmo di mano di Donatello di basso relievo: dove
+&#232; effigiato quando da le chiavi Cristo a S. Pietro. Estimata molto da
+gli artefici questa opera: la quale per invenzione &#232; rara, e per
+disegno maravigliosa. Molto &#232; commendata la figura di Cristo, e la
+prontezza che si scorge nel S. Pietro. E parimente la Madonna posta in
+ginocchione, la quale in atto affetuoso ha sembiante mirabile e
+divoto</i>,&quot; p. 372.</p></div>
+
+<div class="footnote"><p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a> &quot;Ammaestramento Utile,&quot; 1686, p. 141. &quot;<i>Una testa nel
+deposito a mano destra della Porta Maggiore, &#232; scoltura di Donatello
+Fiorentino.</i>&quot; In Chapel of Paul V., Sta. M. Maggiore: &quot;<i>In terra in
+una lapide vi &#232; di profilo la figura del Canonico Morosini, opera di
+Donatello famoso scultore e architetto.</i>&quot; <i>Ibid.</i> p. 241.</p></div>
+
+<div class="footnote"><p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a> Molinier, &quot;Les Plaquettes,&quot; 1886, p. xxvi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a> <i>Cf.</i> St. Ursula, Accademia, Venice, No. 574.</p></div>
+
+<div class="footnote"><p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a> &quot;<i>... una colonna nel mezzo dove &#232; un Davitte di
+Donatello dignissimo.</i>&quot; Letter to Alberto Lollio, 17. viii. 1549,
+Bottari, iii. 341.</p></div>
+
+<div class="footnote"><p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a> <i>Gi&#249; abasso &#232; Davit di bronzo sopra la colonna fine di
+marmo variegato.</i> &quot;Memoriale.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a> &quot;Life of Bandinelli,&quot; x. 301.</p></div>
+
+<div class="footnote"><p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a> &quot;Due dialogi di Giovanni Andrea Gilio da Fabriano,&quot;
+1564; a tiresome and discursive tirade.</p></div>
+
+<div class="footnote"><p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a> 22. viii. 1582. Reprinted in Bottari, ii. 529.</p></div>
+
+<div class="footnote"><p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a> Contract with Domopera of Siena. Payment for wax, for
+making the bronze figures for the Baptistery. 16, iv. 1428. Lusini,
+38.</p></div>
+
+<div class="footnote"><p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a> Reymond, I., p. 107.</p></div>
+
+<div class="footnote"><p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a> By Nino Pisano, in Sta. Caterina, Pisa.</p></div>
+
+<div class="footnote"><p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a> 14, vii. 1428.</p></div>
+
+<div class="footnote"><p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a> 27, v. 1434.</p></div>
+
+<div class="footnote"><p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a> Letter from Matteo degli Orghani, printed with the
+other documents in C. Guasti, opere, iv. 463-477.</p></div>
+
+<div class="footnote"><p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a> A pair of terra-cotta variants of these panels are
+preserved in the Wallace Collection at Hertford House.</p></div>
+
+<div class="footnote"><p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a> Psalm cl.</p></div>
+
+<div class="footnote"><p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149"><span class="label">[149]</span></a> Psalm cxlix.</p></div>
+
+<div class="footnote"><p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150"><span class="label">[150]</span></a> &quot;Trattato della Pintura,&quot; Richter, i. 291.</p></div>
+
+<div class="footnote"><p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151"><span class="label">[151]</span></a> This open form of trouser, of which one sees a variant
+on the Martelli David, was also classical. The Athis or Phrygian
+shepherd usually wears something of the kind.</p></div>
+
+<div class="footnote"><p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152"><span class="label">[152]</span></a> Very similar classical types are in the British Museum,
+No. 1147; and the Eros springing forward in the Forman Collection
+(dispersed in 1899) is almost identical.</p></div>
+
+<div class="footnote"><p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153"><span class="label">[153]</span></a> From the Piot Collection. Figured in &quot;Gaz. des Beaux
+Arts,&quot; 1890, iii. 410.</p></div>
+
+<div class="footnote"><p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154"><span class="label">[154]</span></a> Victoria and Albert Museum, No. 475, 1864. A winged boy
+carrying a dolphin.</p></div>
+
+<div class="footnote"><p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a> In Grosvenor House. Bronze; generally known as &quot;The
+Laughing Boy.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_156_156" id="Footnote_156_156"></a><a href="#FNanchor_156_156"><span class="label">[156]</span></a> Its proportion is impaired by the basal drapery, which
+was grafted to the statue at a later date. This bust belonged to Sabba
+da Castiglione, who was very proud of it. He was born within twenty
+years of Donatello's death.</p></div>
+
+<div class="footnote"><p><a name="Footnote_157_157" id="Footnote_157_157"></a><a href="#FNanchor_157_157"><span class="label">[157]</span></a> No. 383. Marble. Goupil Bequest.</p></div>
+
+<div class="footnote"><p><a name="Footnote_158_158" id="Footnote_158_158"></a><a href="#FNanchor_158_158"><span class="label">[158]</span></a> Stucco, No. 38<span class="smcap">A</span>. <i>Cf.</i> also one belonging to
+Herr Richard von Kaufmann, Berlin.</p></div>
+
+<div class="footnote"><p><a name="Footnote_159_159" id="Footnote_159_159"></a><a href="#FNanchor_159_159"><span class="label">[159]</span></a> No. 1274, St. John, Florentine School, a painting.</p></div>
+
+<div class="footnote"><p><a name="Footnote_160_160" id="Footnote_160_160"></a><a href="#FNanchor_160_160"><span class="label">[160]</span></a> <i>Cf.</i> Naples Museum, No. 5592.</p></div>
+
+<div class="footnote"><p><a name="Footnote_161_161" id="Footnote_161_161"></a><a href="#FNanchor_161_161"><span class="label">[161]</span></a> <i>Cf.</i> drawings of fa&#231;ades in Vettorio Ghiberti's
+Note-book.</p></div>
+
+<div class="footnote"><p><a name="Footnote_162_162" id="Footnote_162_162"></a><a href="#FNanchor_162_162"><span class="label">[162]</span></a> Bargello Cortile, No. 3, by Niccolo di Piero.</p></div>
+
+<div class="footnote"><p><a name="Footnote_163_163" id="Footnote_163_163"></a><a href="#FNanchor_163_163"><span class="label">[163]</span></a> Borghini, in 1586, gave a curious recipe for colouring
+marble according to antique rules. Florentine ed. 1730, p. 123.</p></div>
+
+<div class="footnote"><p><a name="Footnote_164_164" id="Footnote_164_164"></a><a href="#FNanchor_164_164"><span class="label">[164]</span></a> It used to be over one of the doors, preserved <i>in una
+custodia</i> which Richa thought ought to have been made of crystal, so
+precious was the bust.&#8212;&quot;Ch. Fiorentine,&quot; 1758, v. 39.</p></div>
+
+<div class="footnote"><p><a name="Footnote_165_165" id="Footnote_165_165"></a><a href="#FNanchor_165_165"><span class="label">[165]</span></a> Victoria and Albert Museum, No. 7585, 1861.</p></div>
+
+<div class="footnote"><p><a name="Footnote_166_166" id="Footnote_166_166"></a><a href="#FNanchor_166_166"><span class="label">[166]</span></a> Bargello, No. 18, and No. 6, life-sized bronze.</p></div>
+
+<div class="footnote"><p><a name="Footnote_167_167" id="Footnote_167_167"></a><a href="#FNanchor_167_167"><span class="label">[167]</span></a> Bargello, 17.</p></div>
+
+<div class="footnote"><p><a name="Footnote_168_168" id="Footnote_168_168"></a><a href="#FNanchor_168_168"><span class="label">[168]</span></a> Gaye, i. 121.</p></div>
+
+<div class="footnote"><p><a name="Footnote_169_169" id="Footnote_169_169"></a><a href="#FNanchor_169_169"><span class="label">[169]</span></a> Victoria and Albert Museum, No. 923, 1900, and Museo
+Archeologico, No. 1681, both marble.</p></div>
+
+<div class="footnote"><p><a name="Footnote_170_170" id="Footnote_170_170"></a><a href="#FNanchor_170_170"><span class="label">[170]</span></a> Nos. 585 and 758.</p></div>
+
+<div class="footnote"><p><a name="Footnote_171_171" id="Footnote_171_171"></a><a href="#FNanchor_171_171"><span class="label">[171]</span></a> &quot;Life of Henry VII.,&quot; ed. 1825, iii. 417.</p></div>
+
+<div class="footnote"><p><a name="Footnote_172_172" id="Footnote_172_172"></a><a href="#FNanchor_172_172"><span class="label">[172]</span></a> See Westmacott's lectures on Sculpture, II. III.,
+<i>Athen&#230;um</i>, 1858.</p></div>
+
+<div class="footnote"><p><a name="Footnote_173_173" id="Footnote_173_173"></a><a href="#FNanchor_173_173"><span class="label">[173]</span></a> 2nd Comm. Vasari, I. xxx.</p></div>
+
+<div class="footnote"><p><a name="Footnote_174_174" id="Footnote_174_174"></a><a href="#FNanchor_174_174"><span class="label">[174]</span></a> Letter of 1739, p. 186.</p></div>
+
+<div class="footnote"><p><a name="Footnote_175_175" id="Footnote_175_175"></a><a href="#FNanchor_175_175"><span class="label">[175]</span></a> 17, viii. 1549, Antonio Doni, printed in Bottari, iii.
+341.</p></div>
+
+<div class="footnote"><p><a name="Footnote_176_176" id="Footnote_176_176"></a><a href="#FNanchor_176_176"><span class="label">[176]</span></a> These dialogues will be found at great length in
+Borghini, Vasari, Leonardo da Vinci, Alberti, &amp;c. Castiglione also
+devotes a canto of the &quot;Cortegiano&quot; to the subject.</p></div>
+
+<div class="footnote"><p><a name="Footnote_177_177" id="Footnote_177_177"></a><a href="#FNanchor_177_177"><span class="label">[177]</span></a> Gotti, &quot;Vita,&quot; i. 66.</p></div>
+
+<div class="footnote"><p><a name="Footnote_178_178" id="Footnote_178_178"></a><a href="#FNanchor_178_178"><span class="label">[178]</span></a> Rumour was very severe. &quot;<i>Elle m'a pour toujours
+d&#233;go&#251;te de la p&#233;nitence</i>,&quot; sighed Des Brosses. This inimitable person
+was the critic who, after visiting the Arena chapel at Padua, observed
+that nowadays one would scarcely employ Giotto to paint a
+tennis-court.</p></div>
+
+<div class="footnote"><p><a name="Footnote_179_179" id="Footnote_179_179"></a><a href="#FNanchor_179_179"><span class="label">[179]</span></a> Richa, III., xxxiii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180"><span class="label">[180]</span></a> The inscription is: &quot;Votis publicis S. Mari&#230; Magdalen&#230;
+simulacrum ejus insigne Donati opus pristino loco elegantiario
+repositum anno 1735.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181"><span class="label">[181]</span></a> See
+  <a href="#Page_199">p. 199</a>. Moreover, in 1458 Donatello accepted a
+commission at Siena for a marble San Bernardino. And the Anonimo
+Morelliano mentions four other marble reliefs at Padua.</p></div>
+
+<div class="footnote"><p><a name="Footnote_182_182" id="Footnote_182_182"></a><a href="#FNanchor_182_182"><span class="label">[182]</span></a> Siena Cathedral, bronze; Berlin Museum, bronze; Frari
+Church, Venice, wood.</p></div>
+
+<div class="footnote"><p><a name="Footnote_183_183" id="Footnote_183_183"></a><a href="#FNanchor_183_183"><span class="label">[183]</span></a> 10, ii. 1423. On 29, iv. 1423, Donatello received 5
+lbs. 3 oz. of wax for modelling the figure. Luzi, &quot;Duomo di Orvieto,&quot;
+1867, p. 406.</p></div>
+
+<div class="footnote"><p><a name="Footnote_184_184" id="Footnote_184_184"></a><a href="#FNanchor_184_184"><span class="label">[184]</span></a> Vasari, i. 147.</p></div>
+
+<div class="footnote"><p><a name="Footnote_185_185" id="Footnote_185_185"></a><a href="#FNanchor_185_185"><span class="label">[185]</span></a> <i>Che niuno maestro di legname possa fare di pietra.</i>
+Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120.</p></div>
+
+<div class="footnote"><p><a name="Footnote_186_186" id="Footnote_186_186"></a><a href="#FNanchor_186_186"><span class="label">[186]</span></a> In Museum. From the Capella Manfredi in San Girolamo
+degli Osservanza outside the town, suppressed in 1866. <i>Cf.</i> two
+similar statuettes in terra-cotta, Bargello, Nos. 174 and 175.</p></div>
+
+<div class="footnote"><p><a name="Footnote_187_187" id="Footnote_187_187"></a><a href="#FNanchor_187_187"><span class="label">[187]</span></a> Louvre, about 12 inches high, unnumbered. Museo
+Archeologico, Venice, No. 8. Frau Hainauer's bronze Baptist, signed by
+Francesco di San Gallo, is interesting in this connection.</p></div>
+
+<div class="footnote"><p><a name="Footnote_188_188" id="Footnote_188_188"></a><a href="#FNanchor_188_188"><span class="label">[188]</span></a> Victoria and Albert Museum, No. 157, 1894.</p></div>
+
+<div class="footnote"><p><a name="Footnote_189_189" id="Footnote_189_189"></a><a href="#FNanchor_189_189"><span class="label">[189]</span></a> <i>Ibid.</i> No. 7605, 1861, terra-cotta. Louvre, No. 465,
+ditto.</p></div>
+
+<div class="footnote"><p><a name="Footnote_190_190" id="Footnote_190_190"></a><a href="#FNanchor_190_190"><span class="label">[190]</span></a> <i>Cf.</i> Herr von Beckerath's in Berlin, and the
+Verrocchio-school Magdalen in the Berlin Gallery, No. 94.</p></div>
+
+<div class="footnote"><p><a name="Footnote_191_191" id="Footnote_191_191"></a><a href="#FNanchor_191_191"><span class="label">[191]</span></a> Michael Angelo Gloria; Donatello Fiorentino e le sue
+opere ... a Padova, 1895, from which the dates are all quoted.</p></div>
+
+<div class="footnote"><p><a name="Footnote_192_192" id="Footnote_192_192"></a><a href="#FNanchor_192_192"><span class="label">[192]</span></a> See Kristeller's Mantegna, translated by S.A. Strong,
+1901, p. 17.</p></div>
+
+<div class="footnote"><p><a name="Footnote_193_193" id="Footnote_193_193"></a><a href="#FNanchor_193_193"><span class="label">[193]</span></a> Over the Sacristy doors in the Cathedral.</p></div>
+
+<div class="footnote"><p><a name="Footnote_194_194" id="Footnote_194_194"></a><a href="#FNanchor_194_194"><span class="label">[194]</span></a> Anonimo Morelliano (1520-40). Ed. of Bassano, 1800, p.
+3. <i>E da dietro l'altar sotto il scabello il Cristo morto, con le
+altre figure a circo, e le due figure da man destra con le altre due
+da man sinistra, pur de basso rilevo, ma de marmo, furono de mano de
+Donatello.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_195_195" id="Footnote_195_195"></a><a href="#FNanchor_195_195"><span class="label">[195]</span></a> <i>Cf.</i>, for instance, the Madonna over the door of the
+Pisa Baptistery.</p></div>
+
+<div class="footnote"><p><a name="Footnote_196_196" id="Footnote_196_196"></a><a href="#FNanchor_196_196"><span class="label">[196]</span></a> <i>Cf.</i> drawings of ewers in Uffizzi by Giacomone da
+Faenza, sixteenth century.</p></div>
+
+<div class="footnote"><p><a name="Footnote_197_197" id="Footnote_197_197"></a><a href="#FNanchor_197_197"><span class="label">[197]</span></a> <i>Cf.</i> Battle of Romans and Barbarians, No. 12. Museo
+Nazionale, Rome.</p></div>
+
+<div class="footnote"><p><a name="Footnote_198_198" id="Footnote_198_198"></a><a href="#FNanchor_198_198"><span class="label">[198]</span></a> Battle, Casa Buonarroti, Florence.</p></div>
+
+<div class="footnote"><p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199"><span class="label">[199]</span></a> The Walpole Eagle from the Tiber, belonging to the Earl
+of Wemyss.</p></div>
+
+<div class="footnote"><p><a name="Footnote_200_200" id="Footnote_200_200"></a><a href="#FNanchor_200_200"><span class="label">[200]</span></a> Victoria and Albert Museum, No. 7577, 1861. M.G.
+Dreyfus has a fine plaquette analogous to these large reliefs.</p></div>
+
+<div class="footnote"><p><a name="Footnote_201_201" id="Footnote_201_201"></a><a href="#FNanchor_201_201"><span class="label">[201]</span></a> <i>Cf.</i>, for instance, Madame Andr&#233;'s Piet&#224; lunette, or
+the stone &quot;Lamentation&quot; in Victoria and Albert Museum, No. 314, 1878,
+almost German in its harsh realism. This came from the Palazzo Lazzara
+at Padua.</p></div>
+
+<div class="footnote"><p><a name="Footnote_202_202" id="Footnote_202_202"></a><a href="#FNanchor_202_202"><span class="label">[202]</span></a> In Ludovisi Buoncompagni Collection, Museo Nazionale,
+marble. <i>Cf.</i> also the bust of Minatia Polla, so called, which might
+be by Verrocchio.</p></div>
+
+<div class="footnote"><p><a name="Footnote_203_203" id="Footnote_203_203"></a><a href="#FNanchor_203_203"><span class="label">[203]</span></a> 7, xii. 1549. Printed in Bottari, ii. 70.</p></div>
+
+<div class="footnote"><p><a name="Footnote_204_204" id="Footnote_204_204"></a><a href="#FNanchor_204_204"><span class="label">[204]</span></a> 19, x. 1451. Milanesi, ii. 271.</p></div>
+
+<div class="footnote"><p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a> 17. x. 1457; <i>ibid.</i> 295.</p></div>
+
+<div class="footnote"><p><a name="Footnote_206_206" id="Footnote_206_206"></a><a href="#FNanchor_206_206"><span class="label">[206]</span></a> Marble, No. 149.</p></div>
+
+<div class="footnote"><p><a name="Footnote_207_207" id="Footnote_207_207"></a><a href="#FNanchor_207_207"><span class="label">[207]</span></a> The rules of the Sienese guild of painters provided
+against strife within their own circles by imposing a fine upon
+whoever <i>dicesse vilania o parole ingiuriose al retore</i>: Art. 55.
+Milanesi, i. 25.</p></div>
+
+<div class="footnote"><p><a name="Footnote_208_208" id="Footnote_208_208"></a><a href="#FNanchor_208_208"><span class="label">[208]</span></a> &quot;De antiq. urbis Patavii,&quot; 1560, p. 374.</p></div>
+
+<div class="footnote"><p><a name="Footnote_209_209" id="Footnote_209_209"></a><a href="#FNanchor_209_209"><span class="label">[209]</span></a> &quot;De Sculptura,&quot; 1504, gathering f.</p></div>
+
+<div class="footnote"><p><a name="Footnote_210_210" id="Footnote_210_210"></a><a href="#FNanchor_210_210"><span class="label">[210]</span></a> Marble, in Sacristy of S. Antonio.</p></div>
+
+<div class="footnote"><p><a name="Footnote_211_211" id="Footnote_211_211"></a><a href="#FNanchor_211_211"><span class="label">[211]</span></a> Victoria and Albert Museum, No. 75, 1879.</p></div>
+
+<div class="footnote"><p><a name="Footnote_212_212" id="Footnote_212_212"></a><a href="#FNanchor_212_212"><span class="label">[212]</span></a> 29, vi. 1453. Donatello is still described as <i>abitante
+in Padova</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_213_213" id="Footnote_213_213"></a><a href="#FNanchor_213_213"><span class="label">[213]</span></a> Victoria and Albert Museum, No. 8717, 1863.</p></div>
+
+<div class="footnote"><p><a name="Footnote_214_214" id="Footnote_214_214"></a><a href="#FNanchor_214_214"><span class="label">[214]</span></a> Museo Archeologico, Doge's Palace.</p></div>
+
+<div class="footnote"><p><a name="Footnote_215_215" id="Footnote_215_215"></a><a href="#FNanchor_215_215"><span class="label">[215]</span></a> Louvre, &quot;His de la Salle Collection,&quot; No. 385.</p></div>
+
+<div class="footnote"><p><a name="Footnote_216_216" id="Footnote_216_216"></a><a href="#FNanchor_216_216"><span class="label">[216]</span></a> Marble, No. 39 <span class="smcap">b</span>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_217_217" id="Footnote_217_217"></a><a href="#FNanchor_217_217"><span class="label">[217]</span></a> <i>Cf.</i> a Donatellesque stucco Madonna beneath a
+<i>baldachino</i> belonging to Signor Bardini, who also possesses a stucco
+Entombment similar to the London bronze.</p></div>
+
+<div class="footnote"><p><a name="Footnote_218_218" id="Footnote_218_218"></a><a href="#FNanchor_218_218"><span class="label">[218]</span></a> Victoria and Albert Museum, No. 8552, 1863. Bronze.</p></div>
+
+<div class="footnote"><p><a name="Footnote_219_219" id="Footnote_219_219"></a><a href="#FNanchor_219_219"><span class="label">[219]</span></a> Stucco No. 41.</p></div>
+
+<div class="footnote"><p><a name="Footnote_220_220" id="Footnote_220_220"></a><a href="#FNanchor_220_220"><span class="label">[220]</span></a> See
+  <a href="#Page_62">p. 62</a>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_221_221" id="Footnote_221_221"></a><a href="#FNanchor_221_221"><span class="label">[221]</span></a> v. 100.</p></div>
+
+<div class="footnote"><p><a name="Footnote_222_222" id="Footnote_222_222"></a><a href="#FNanchor_222_222"><span class="label">[222]</span></a> Mentioned in his will. He died in 1500. Milanesi, iii.
+p. 8.</p></div>
+
+<div class="footnote"><p><a name="Footnote_223_223" id="Footnote_223_223"></a><a href="#FNanchor_223_223"><span class="label">[223]</span></a> Marble, No. 39. Versions in soft materials exist in the
+Louvre, in the Andr&#233; and Bardini Collections, and a variant in the
+Victoria and Albert Museum, No. 7590, 1861.</p></div>
+
+<div class="footnote"><p><a name="Footnote_224_224" id="Footnote_224_224"></a><a href="#FNanchor_224_224"><span class="label">[224]</span></a> Marble, Berlin Museum.</p></div>
+
+<div class="footnote"><p><a name="Footnote_225_225" id="Footnote_225_225"></a><a href="#FNanchor_225_225"><span class="label">[225]</span></a> Victoria and Albert Museum, No. 7412, 1860; Berlin
+Museum; collections of Herr von Beckerath and Herr Richard von
+Kaufmann.</p></div>
+
+<div class="footnote"><p><a name="Footnote_226_226" id="Footnote_226_226"></a><a href="#FNanchor_226_226"><span class="label">[226]</span></a> Louvre, Berlin Museum; Verona, in the Viccolo Fogge;
+<i>cf.</i> also the relief under the archway in the Via de' Termini,
+Siena.</p></div>
+
+<div class="footnote"><p><a name="Footnote_227_227" id="Footnote_227_227"></a><a href="#FNanchor_227_227"><span class="label">[227]</span></a> Victoria and Albert Museum, No. 57, 1867.</p></div>
+
+<div class="footnote"><p><a name="Footnote_228_228" id="Footnote_228_228"></a><a href="#FNanchor_228_228"><span class="label">[228]</span></a> Giovanni Bastianini, 1830-68, though the <i>doyen</i> of
+forgers, did not profit by his dexterity, and died almost penniless.</p></div>
+
+<div class="footnote"><p><a name="Footnote_229_229" id="Footnote_229_229"></a><a href="#FNanchor_229_229"><span class="label">[229]</span></a> Terra-cotta.</p></div>
+
+<div class="footnote"><p><a name="Footnote_230_230" id="Footnote_230_230"></a><a href="#FNanchor_230_230"><span class="label">[230]</span></a> Victoria and Albert Museum, No. 8376, 1863.</p></div>
+
+<div class="footnote"><p><a name="Footnote_231_231" id="Footnote_231_231"></a><a href="#FNanchor_231_231"><span class="label">[231]</span></a> No. 53 <span class="smcap">e.</span> Bergamo, Morelli Collection, No.
+53.</p></div>
+
+<div class="footnote"><p><a name="Footnote_232_232" id="Footnote_232_232"></a><a href="#FNanchor_232_232"><span class="label">[232]</span></a> Victoria and Albert Museum, No. 93, 1882.</p></div>
+
+<div class="footnote"><p><a name="Footnote_233_233" id="Footnote_233_233"></a><a href="#FNanchor_233_233"><span class="label">[233]</span></a> <i>Ibid.</i> No. 7594, 1861.</p></div>
+
+<div class="footnote"><p><a name="Footnote_234_234" id="Footnote_234_234"></a><a href="#FNanchor_234_234"><span class="label">[234]</span></a> One was in the Spitzer Collection, another belongs to
+M. Gustave Dreyfus.</p></div>
+
+<div class="footnote"><p><a name="Footnote_235_235" id="Footnote_235_235"></a><a href="#FNanchor_235_235"><span class="label">[235]</span></a> No. 294, Davillier bequest; and in the entrance hall to
+the Sacristy of the Eremitani at Padua.</p></div>
+
+<div class="footnote"><p><a name="Footnote_236_236" id="Footnote_236_236"></a><a href="#FNanchor_236_236"><span class="label">[236]</span></a> Terra-cotta No. 39a.</p></div>
+
+<div class="footnote"><p><a name="Footnote_237_237" id="Footnote_237_237"></a><a href="#FNanchor_237_237"><span class="label">[237]</span></a> The others are Victoria and Albert Museum, No. 7624,
+1861, marble. Berlin Museum, stucco. Madame Andr&#233;, marble, finer than
+the London version. Marquise Arconati-Visconti, Paris, marble, and a
+rough uncoloured stucco in the Casa Bardini.</p></div>
+
+<div class="footnote"><p><a name="Footnote_238_238" id="Footnote_238_238"></a><a href="#FNanchor_238_238"><span class="label">[238]</span></a> Properly speaking, they are ambones. They stand in the
+west end of the nave of the church close to the junction of the
+transepts.</p></div>
+
+<div class="footnote"><p><a name="Footnote_239_239" id="Footnote_239_239"></a><a href="#FNanchor_239_239"><span class="label">[239]</span></a> 7, xii. 1547. &quot;<i>... Donato non fece mai la pi&#249; brutta
+opera</i>,&quot; &amp;c. Letter printed in Bottari, i. 70.</p></div>
+
+<div class="footnote"><p><a name="Footnote_240_240" id="Footnote_240_240"></a><a href="#FNanchor_240_240"><span class="label">[240]</span></a> It is probable that these famous horses were mere
+wrecks in the fifteenth century. At any rate, Lafreri's engraving of
+1546 shows one of them without breast or forelegs, the remainder of
+the horse being nothing but a large pillar of brick. Herr von Kaufmann
+has an admirable statuette of Donatello's latter period modelled from
+the horses on the San Lorenzo frieze. <i>Cf.</i> also Mantegna in the
+Madonna di San Zeno, Verona.</p></div>
+
+<div class="footnote"><p><a name="Footnote_241_241" id="Footnote_241_241"></a><a href="#FNanchor_241_241"><span class="label">[241]</span></a> <i>E.g.</i>, work wrongly attributed to Donatello: the
+figure of Plenty in the courtyard of the Canigiani Palace, Florence;
+the Lavabo in San Lorenzo; the two figures on the famous silver altar
+at Pistoja; the bronze busts in the Bargello; the font at Pietra
+Santa; chimney-pieces, gateways, <i>stemme</i>, and numberless Madonnas and
+small bronzes.</p></div>
+
+<div class="footnote"><p><a name="Footnote_242_242" id="Footnote_242_242"></a><a href="#FNanchor_242_242"><span class="label">[242]</span></a> Casa Buonarroti, Florence.</p></div>
+
+<div class="footnote"><p><a name="Footnote_243_243" id="Footnote_243_243"></a><a href="#FNanchor_243_243"><span class="label">[243]</span></a> From the Gualandi Collection. It is attributed by some
+to a Neapolitan sculptor.</p></div>
+
+<div class="footnote"><p><a name="Footnote_244_244" id="Footnote_244_244"></a><a href="#FNanchor_244_244"><span class="label">[244]</span></a> &quot;Vita,&quot; 1553, p. 14.</p></div>
+
+<div class="footnote"><p><a name="Footnote_245_245" id="Footnote_245_245"></a><a href="#FNanchor_245_245"><span class="label">[245]</span></a> &quot;Ricordi,&quot; 1554, p. 51.</p></div>
+
+<div class="footnote"><p><a name="Footnote_246_246" id="Footnote_246_246"></a><a href="#FNanchor_246_246"><span class="label">[246]</span></a> &quot;De Sculptura,&quot; 1504, gathering f. &quot;Donatellus ...
+<i>aere ligno, marmore laudatissimus, plura hujus unius manu extant
+opera, quam semel ab eo ad nos c&#230;terorum omnium</i>.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_247_247" id="Footnote_247_247"></a><a href="#FNanchor_247_247"><span class="label">[247]</span></a> &quot;Italia Illustrata,&quot; B&#226;le, 1531, p. 305. &quot;<i>Decorat
+etiam urbem Florentiam ingenio veterum laudibus respondente, Donatello
+Heracleotae Zeusi aequiparandus, ut vivos, juxta Virgilii verba, ducat
+de marmore vultus.</i>&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_248_248" id="Footnote_248_248"></a><a href="#FNanchor_248_248"><span class="label">[248]</span></a> &quot;De Viris illustribus,&quot; Florence ed. 1745, p. 51.
+&quot;<i>Donatellus ... excellet non aere tantum, sed etiam marmore
+notissimus, ut vivos vultus ducere, et ad antiquorum gloriam proxime
+accedere videatur.</i>&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_249_249" id="Footnote_249_249"></a><a href="#FNanchor_249_249"><span class="label">[249]</span></a> &quot;Dialogues,&quot; Raczynski ed. Paris, 1846, p. 56.</p></div>
+
+<div class="footnote"><p><a name="Footnote_250_250" id="Footnote_250_250"></a><a href="#FNanchor_250_250"><span class="label">[250]</span></a> &quot;Due Trattati,&quot; ed. Milanesi, 1857, passim.</p></div>
+
+<div class="footnote"><p><a name="Footnote_251_251" id="Footnote_251_251"></a><a href="#FNanchor_251_251"><span class="label">[251]</span></a> &quot;Due Vite di Brunellesco,&quot; p. 142.</p></div>
+
+<div class="footnote"><p><a name="Footnote_252_252" id="Footnote_252_252"></a><a href="#FNanchor_252_252"><span class="label">[252]</span></a> Semper, 321.</p></div>
+
+<div class="footnote"><p><a name="Footnote_253_253" id="Footnote_253_253"></a><a href="#FNanchor_253_253"><span class="label">[253]</span></a> &quot;Lem.,&quot; iii. 243, in first edition.</p></div>
+
+<div class="footnote"><p><a name="Footnote_254_254" id="Footnote_254_254"></a><a href="#FNanchor_254_254"><span class="label">[254]</span></a> 1677 edition.</p></div>
+
+<div class="footnote"><p><a name="Footnote_255_255" id="Footnote_255_255"></a><a href="#FNanchor_255_255"><span class="label">[255]</span></a> Gauricus, b. 1.</p></div>
+
+<div class="footnote"><p><a name="Footnote_256_256" id="Footnote_256_256"></a><a href="#FNanchor_256_256"><span class="label">[256]</span></a> Vespasiano de' Bisticci, Vite.</p></div>
+
+<div class="footnote"><p><a name="Footnote_257_257" id="Footnote_257_257"></a><a href="#FNanchor_257_257"><span class="label">[257]</span></a> &quot;Vasari,&quot; iii. 253.</p></div>
+
+<div class="footnote"><p><a name="Footnote_258_258" id="Footnote_258_258"></a><a href="#FNanchor_258_258"><span class="label">[258]</span></a> <i>Ibid.</i> iii. 244.</p></div>
+
+<div class="footnote"><p><a name="Footnote_259_259" id="Footnote_259_259"></a><a href="#FNanchor_259_259"><span class="label">[259]</span></a> &quot;<i>Fo in Fiorenza ad tempo de' nostri padri Donatello
+huomo raro, semplicissimo in ogni altra cosa excepto che in la
+scultura</i>.&quot;</p></div>
+
+<div class="footnote"><p><a name="Footnote_260_260" id="Footnote_260_260"></a><a href="#FNanchor_260_260"><span class="label">[260]</span></a> Matteo degli Orghani, writing in 1434, says: &quot;<i>Impero
+che &#232; huomo ch' ogni picholo pasto &#232; allui assai, e sta contento a
+ogni cosa</i>.&quot; Guasti, iv. 475. Donatello died in 1466, probably on
+December 15. He was buried in San Lorenzo at the expense of the
+Medici. Masaccio painted his portrait in the Carmine, but it is lost.
+The Louvre panel No. 1272, ascribed to Paolo Ucello, shows the
+painter, Manetti, Brunellesco, and Donatello. Monuments have been
+recently erected to the sculptor in his native city. For Donatello's
+homes in Florence, see &quot;Misc. Fiorentina,&quot; vol. i. No. 4, 1886, p. 60,
+and &quot;Miscellanea d'arte,&quot; No. 3, 1903, p. 49.</p></div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
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@@ -0,0 +1,8300 @@
+The Project Gutenberg eBook, Donatello, by David Lindsay, Earl of Crawford
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Donatello
+
+
+Author: David Lindsay, Earl of Crawford
+
+
+
+Release Date: April 1, 2006  [eBook #18099]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK DONATELLO***
+
+
+E-text prepared by Suzanne Lybarger, Linda Cantoni, and the Project
+Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net/) from
+page images generously made available by Internet Archive/Canadian
+Libraries (http://www.archive.org/details/toronto)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustrations.
+      See 18099-h.htm or 18099-h.zip:
+      (https://www.gutenberg.org/dirs/1/8/0/9/18099/18099-h/18099-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/1/8/0/9/18099/18099-h.zip)
+
+
+      Images of the original pages are available through
+      Internet Archive/Canadian Libraries. See
+      http://www.archive.org/details/donatello00crawuoft
+
+
+Transcriber's note:
+
+   In the original text the name "Verrocchio" is, except for one
+   instance, misspelled as "Verrochio"; the name "Buonarroti" is
+   twice misspelled as "Buonarotti"; the name "Orcagna" is once
+   misspelled as "Orcagra"; and the name "Vasari" is once
+   misspelled as "Vassari." These have been corrected in this
+   e-text.
+
+   Variants, archaic forms, or Anglicizations of other names
+   (e.g., "Michael Angelo" for "Michelangelo"; "Or San Michele"
+   for "Orsanmichele"; "Brunellesco" for "Brunelleschi") have
+   been retained as they appear in the original.
+
+   Characters with macrons are indicated in brackets, e.g. [=U].
+
+   Characters following a caret character are superscripted, e.g.
+   M^a.
+
+
+
+
+
+DONATELLO
+
+by
+
+LORD BALCARRES
+
+
+
+
+
+
+
+[Illustration: _Alinari_
+
+CHRIST ON THE CROSS
+
+SANT' ANTONIO, PADUA]
+
+
+
+[Illustration: DESORMAIS]
+
+
+
+London: Duckworth and Co.
+New York: Charles Scribner's Sons
+1903
+All rights reserved
+Printed by Ballantyne, Hanson & Co.
+at the Ballantyne Press
+
+
+
+
+PREFACE
+
+
+An attempt is made in the following pages to determine the position
+and character of Donatello's art in relation to that of his
+contemporaries and successors. The subject must be familiar to many
+who have visited Florence, but no critical work on the subject has
+been published in English. I have therefore quoted as many authorities
+as possible in order to assist those who may wish to look further into
+problems which are still unsettled. Most of the books to which
+reference is made can be consulted in the Art Library at South
+Kensington, and in the British Museum. Foreign critics have written a
+good deal about Donatello from varied, if somewhat limited aspects.
+Dr. Bode's researches are, as a rule, illustrative of the works of art
+in the Berlin Museum. The main object of Dr. Semper was to collect
+documentary evidence about the earlier part of Donatello's life;
+Gloria and Gonzati have made researches into the Paduan period; Lusini
+confines his attention to Siena, Centofanti to Pisa; M. Reymond and
+Eugene Muentz are more comprehensive in their treatment of the subject.
+
+With eleven or twelve exceptions I have seen the original of every
+existing piece of sculpture, architecture and painting mentioned in
+this book. I regret, however, that among the exceptions should be a
+work by Donatello himself, namely, the Salome relief at Lille--my
+visits to that town having unfortunately coincided with public
+holidays, when the gallery was closed. I must express my thanks to the
+officials of Museums, as well as to private collectors all over
+Europe, for unfailing courtesy and assistance. I have also to
+acknowledge my indebtedness to the invaluable advice of Mr. S. Arthur
+Strong, Librarian of the House of Lords.
+
+21.vi.1903
+
+
+
+
+CONTENTS
+
+
+                                                             PAGE
+
+INTRODUCTION                                                    1
+
+COMPETITION FOR THE BAPTISTERY GATES                            2
+
+FIRST JOURNEY TO ROME                                           3
+
+THE PREDECESSORS OF DONATELLO                                   5
+
+FIRST WORK FOR THE CATHEDRAL                                    7
+
+THE CATHEDRAL FACADE                                            8
+
+THE DANIEL AND POGGIO                                          10
+
+ST. JOHN THE EVANGELIST AND THE MARBLE DAVID                   14
+
+STATUES OF THE CAMPANILE                                       17
+
+ST. JOHN THE BAPTIST                                           18
+
+JEREMIAH AND THE CANON OF ART                                  20
+
+HABAKKUK AND THE SENSE OF DISTANCE                             23
+
+THE ZUCCONE, "REALISM" AND NATURE                              26
+
+THE ZUCCONE AND THE SENSE OF LIGHT AND SHADE                   29
+
+ABRAHAM AND THE SENSE OF PROPORTION                            30
+
+DRAPERY AND HANDS                                              31
+
+MINOR WORKS FOR THE CATHEDRAL                                  33
+
+OR SAN MICHELE, ST. PETER AND ST. MARK                         35
+
+ST. LOUIS                                                      38
+
+ST. GEORGE                                                     39
+
+DONATELLO AND GOTHIC ART                                       42
+
+THE CRUCIFIX AND ANNUNCIATION                                  47
+
+MARTELLI, DAVID, AND DONATELLO'S TECHNIQUE                     52
+
+EARLY FIGURES OF ST. JOHN                                      56
+
+DONATELLO AS ARCHITECT AND PAINTER                             59
+
+THE SIENA FONT                                                 70
+
+MICHELOZZO AND THE COSCIA TOMB                                 72
+
+THE ARAGAZZI TOMB                                              76
+
+THE BRANCACCI TOMB                                             77
+
+STIACCIATO                                                     80
+
+TOMBS OF PECCI, CRIVELLI, AND OTHERS                           82
+
+THE SECOND VISIT TO ROME                                       88
+
+WORK AT ROME                                                   94
+
+THE MEDICI MEDALLIONS                                          97
+
+THE BRONZE DAVID                                               99
+
+DONATELLO AND CHILDHOOD                                       103
+
+THE CANTORIA                                                  107
+
+THE PRATO PULPIT                                              109
+
+OTHER CHILDREN BY DONATELLO                                   113
+
+BOYS' BUSTS                                                   116
+
+NICCOLO DA UZZANO AND POLYCHROMACY                            121
+
+PORTRAIT-BUSTS                                                125
+
+RELIEF-PORTRAITS                                              131
+
+SAN LORENZO                                                   133
+
+THE BRONZE DOORS                                              135
+
+THE JUDITH                                                    140
+
+THE MAGDALEN AND SIMILAR STATUES                              144
+
+THE ALTAR AT PADUA                                            149
+
+THE LARGE STATUES                                             152
+
+THE BRONZE RELIEFS                                            156
+
+THE SYMBOLS OF THE EVANGELISTS                                161
+
+THE CHOIR OF ANGELS                                           163
+
+THE PIETA AND THE ENTOMBMENT                                  164
+
+DONATELLO'S ASSISTANTS                                        167
+
+BELLANO AND THE GATTAMELATA TOMBS                             170
+
+GATTAMELATA                                                   173
+
+SMALLER RELIEFS AND PLAQUETTES                                176
+
+THE MADONNAS                                                  179
+
+THE PULPITS OF SAN LORENZO                                    186
+
+DONATELLO'S INFLUENCE ON SCULPTURE                            190
+
+EARLY CRITICISM OF DONATELLO                                  193
+
+CHARACTER AND PERSONALITY OF DONATELLO                        194
+
+APPENDIX I                                                    199
+
+APPENDIX II                                                   201
+
+APPENDIX III                                                  204
+
+INDEX                                                         207
+
+
+
+
+ILLUSTRATIONS
+
+
+Christ on the Cross                    _Frontispiece_
+
+Joshua                                 _To face page_          10
+
+Poggio                                       "                 12
+
+Mocenigo Tomb                                "                 14
+
+Marble David                                 "                 16
+
+St. John the Evangelist                      "                 18
+
+Jeremiah                                     "                 20
+
+Habakkuk                                     "                 24
+
+The Zuccone                                  "                 26
+
+Abraham and Isaac                            "                 30
+
+St. Mark                                     "                 36
+
+St. George                                   "                 40
+
+St. George                                   "                 42
+
+Annunciation                                 "                 48
+
+San Giovannino                               "                 56
+
+St. John Baptist, Marble                     "                 58
+
+Clay Sketch of Crucifixion and Flagellation  "                 62
+
+Niche of Or San Michele                      "                 64
+
+The Marzocco                                 "                 66
+
+The Martelli Shield                          "                 68
+
+Salome Relief, Siena                         "                 70
+
+Tomb of Coscia, Pope John XXIII.             "                 72
+
+Effigy of Pope John XXIII.                   "                 74
+
+Tomb of Cardinal Brancacci                   "                 78
+
+Tomb Plate of Bishop Pecci                   "                 86
+
+Tabernacle                                   "                 94
+
+The Charge to Peter                          "                 96
+
+The Bronze David                             "                100
+
+Cantoria                                     "                106
+
+Cantoria (Detail)                            "                108
+
+The Prato Pulpit                             "                110
+
+Bronze Amorino                               "                114
+
+San Giovannino                               "                118
+
+Niccolo da Uzzano                            "                122
+
+Bronze Doors                                 "                136
+
+Judith                                       "                140
+
+St. Mary Magdalen                            "                144
+
+St. John the Baptist                         "                146
+
+Saint Francis, the Madonna, and Saint
+  Anthony                                    "                152
+
+Miracle of the Speaking Babe                 "                156
+
+Miracle of the Miser's Heart                 "                158
+
+Miracle of the Mule                          "                160
+
+Symbol of St. Matthew                        "                162
+
+Choristers                                   "                164
+
+Choristers                                   "                164
+
+Christ Mourned by Angels                     "                166
+
+Super Altar by Giovanni da Pisa              "                168
+
+Tomb of Giovanni, Son of General Gattamelata "                170
+
+Tomb of General Gattamelata                  "                172
+
+Shrine of St. Justina                        "                172
+
+General Gattamelata                          "                174
+
+Colleone                                     "                176
+
+Madonna and Child                            "                180
+
+"Pazzi" Madonna                              "                182
+
+Madonna and Child                            "                184
+
+Madonna                                      "                186
+
+Side Panel of Pulpit                         "                188
+
+End Panel of Pulpit                          "                190
+
+     _The reproductions from photographs which illustrate this
+     volume have been made by Messrs. J.J. Waddington, Ltd. 14
+     Henrietta Street, W.C._
+
+
+
+
+DONATELLO
+
+
+The materials for a biography of Donatello are so scanty, that his
+life and personality can only be studied in his works. The Renaissance
+gave birth to few men of productive genius whose actual careers are so
+little known. Unlike many of his contemporaries, Donatello composed no
+treatise on his art; he wrote no memoir or commentary, no sonnets, and
+indeed scarcely a letter of his even on business topics has survived.
+For specific information about his career we therefore depend upon
+some returns made to the Florentine tax-collectors, and upon a number
+of contracts and payments for work carried out in various parts of
+Italy. But, however familiar Donatello the sculptor may be to the
+student of Italian art, Donatello the man must remain a mystery. His
+biography offers no attraction for those whose curiosity requires
+minute and intimate details of domestic life. Donatello bequeathed
+nothing to posterity except a name, his masterpieces and a lasting
+influence for good.
+
+The _Denunzia de' beni_, which was periodically demanded from
+Florentine citizens, was a declaration of income combined with what
+would now be called census returns. Donatello made three statements of
+this nature,[1] in 1427, 1433 and 1457. It is difficult to determine
+his age, as in each case the date of his birth is differently
+inferred. But it is probable that the second of these returns, when he
+said that he was forty-seven years old, gives his correct age. This
+would place his birth in 1386, and various deductions from other
+sources justify this attribution. We gather also that Donatello lived
+with his mother Orsa, his father having died before 1415. The widow,
+who is mentioned in 1427, and not in 1433, presumably died before the
+latter date. One sister, Tita, a dowerless widow, is mentioned in the
+earliest _denunzia_, living with her mother and Donatello, her son
+Giuliano having been born in 1409. It is probable that Donatello had a
+brother, but the matter is somewhat obscure, and it is now certain
+that he cannot be identified with the sculptor Simone, who used to be
+considered Donatello's brother on the authority of Vasari.
+
+[Footnote 1: Gaye, Carteggio, i. 120. See Appendix II. A.]
+
+       *       *       *       *       *
+
+[Sidenote: Competition for the Baptistery Gates.]
+
+The year 1402 marks an event of far-reaching importance in the history
+of Italian art. Having decided to erect bronze doors for their
+Baptistery, the Florentines invited all artists to submit competitive
+designs. After a preliminary trial, six artists were selected and a
+further test was imposed. They were directed to make a bronze relief
+of given size and shape, the subject being the Sacrifice of Isaac. Few
+themes could have been better chosen, as the artist had to show his
+capacity to portray youth and age, draped and undraped figures, as
+well as landscape and animal life. The trial plaques were to be sent
+to the judges within twelve months. Donatello did not compete, being
+only a boy, but he must have been familiar with every stage in the
+contest, which excited the deepest interest in Tuscany. A jury of
+thirty-four experts, among whom were goldsmiths and painters as well
+as sculptors, assembled to deliver the final verdict. The work of
+Jacobo della Quercia of Siena was lacking in elegance and delicacy;
+the design submitted by Simone da Colle was marred by faulty drawing;
+that of Niccolo d'Arezzo by badly proportioned figures; while
+Francesco di Valdambrino made a confused and inharmonious group. It
+was evident that Ghiberti and Brunellesco were the most able
+competitors, and the jury hesitated before giving a decision.
+Brunellesco, however, withdrew in favour of his younger rival, and the
+commission was accordingly entrusted to Ghiberti. The decision was
+wise: Ghiberti's model, technically as well as aesthetically, was
+superior to that of Brunellesco. Both are preserved at Florence, and
+nobody has regretted the acceptance of Ghiberti's design, for its
+rejection would have made a sculptor of Brunellesco, whose real tastes
+and inclinations were towards architecture, to which he rendered
+services of incomparable value.
+
+       *       *       *       *       *
+
+[Sidenote: First Journey to Rome.]
+
+For a short time Donatello was probably one of the numerous _garzoni_
+or assistants employed by Ghiberti in making the gates, but his first
+visit to Rome is the most important incident of his earlier years.
+Brunellesco, disappointed by his defeat, and wishing to study the
+sculpture and architecture of Rome, sold a property at Settignano to
+raise funds for the journey. He was accompanied by Donatello, his
+_stretissimo amico_, [Transcriber's Note: Probably should be
+"strettissimo."] and they spent at least a year together in Rome,
+learning what they could from the existing monuments of ancient art,
+and making jewelry when money was wanted for their household expenses.
+Tradition says that they once unearthed a hoard of old coins and were
+thenceforward known as the treasure-seekers--_quelli del' tesoro_. But
+the influence of antiquity upon Donatello was never great, and
+Brunellesco had to visit Rome frequently before he could fully realise
+the true bearings of classical art. It has been argued that Donatello
+never made this early visit to Rome on the ground that his subsequent
+work shows no traces of classical influence. On such a problem as this
+the affirmative statement of Vasari is lightly disregarded. But the
+biographer of Brunellesco is explicit on the point, giving many
+details about their sojourn; and this book was written during the
+lifetime of both Donatello and Brunellesco. The argument against the
+visit is, in fact, untenable. Artists were influenced by classical
+motives without going to Rome. Brunellesco himself placed in his
+competition design a figure inspired by the bronze boy drawing a thorn
+out of his foot--the _Spinario_ of the Capitol. Similar examples could
+be quoted from the work of Luca della Robbia, and it would be easy to
+show, on the other hand, that painters like Masaccio, Fra Angelico,
+and Piero della Francesca were able to execute important work in Rome
+without allowing themselves to be influenced by the classical spirit
+except in details and accessories. Moreover, if one desired to press
+the matter further, it can be shown that in the work completed by
+Donatello before 1433, the year in which he made his second and
+undisputed visit, there are sufficient signs of classical motive in
+his architectural backgrounds to justify the opinion that he was
+acquainted with the ancient buildings of Rome. The Relief on the font
+at Siena and that in the Musee Wicar at Lille certainly show classical
+study. At the same time, in measuring the extent to which Donatello
+was influenced by his first visit to Rome, we must remember that it is
+often difficult and sometimes impossible to determine the source of
+what is generically called classical. The revival or reproduction of
+Romanesque motives is often mistaken for classical research. In the
+places where Christianity had little classical architecture to guide
+it--Ravenna, for instance--a new line was struck out; but elsewhere
+the Romanesque had slowly emerged from the classical, and in many
+cases there was no strict line of demarcation between the two. But
+Donatello was very young when he went to Rome, and the fashion of the
+day had not then turned in favour of classical study. The sculptors
+working in Rome, colourless men as they were, drew their inspiration
+from Gothic and pre-Renaissance ideals. In Florence the ruling motives
+were even more Gothic in tendency. It is in this school that Donatello
+found his earliest training, and though he modified and transcended
+all that his teachers could impart, his sculpture always retained a
+character to which the essential elements of classical art contributed
+little or nothing.
+
+       *       *       *       *       *
+
+[Sidenote: The Predecessors of Donatello.]
+
+Florence was busily engaged in decorating her great buildings. The
+fourteenth century had witnessed the structural completion of the
+Cathedral, excepting its dome, of the Campanile, and of the Church of
+Or San Michele. During the later years of the century their adornment
+was begun. A host of sculptors was employed, the number and scale of
+statues required being great. There was a danger that the sculpture
+might have become a mere handmaid of the architecture to which it was
+subordinated. But this was not the case; the sculptors preserved a
+freedom in adapting their figures to the existing architectural lines,
+and it is precisely in the statuary applied to completed buildings
+that we can trace the most interesting transitions from Gothic to
+Renaissance. It is needless to discuss closely the work which was
+erected before Donatello's return from Rome: much of it has unhappily
+perished, and what remains is for the purposes of this book merely
+illustrative of the early inspiration of Donatello. Piero Tedesco made
+a number of statues for the Cathedral, Mea and Giottino worked for the
+Campanile. Lorenzo di Bicci, sculptor, architect, and painter, was one
+of those whose influence extended to Donatello; Niccolo d'Arezzo was
+perhaps the most original of this group, making a genuine effort to
+shake off the conventional system. But, on the whole, the last quarter
+of the fourteenth century showed but little progress. Indeed, from the
+time of the later Pisani there seems to have been a period of
+stagnation, a pause during which the anticipated progress bore little
+fruit. Orcagna never succeeded in developing the ideas of his master.
+The shrine in Or San Michele, marvellous in its way, admirable alike
+for diligence and sincerity, stands alone, and was not imbued with the
+life which could make it an influence upon contemporary art.
+
+       *       *       *       *       *
+
+[Sidenote: First Work for the Cathedral.]
+
+The first recorded payment to Donatello by the Domopera, or Cathedral
+authorities, was made in November 1406, when he received ten golden
+florins as an instalment towards his work on the two prophets for the
+North door of the church, which is rather inaccurately described in
+the early documents as facing the Via de' Servi. Fifteen months later
+he received the balance of six florins. These two marble figures,
+small as they are, and placed high above the gables, are not very
+noticeable, but they contain the germ of much which was to follow. The
+term "prophet" can only be applied to them by courtesy, for they are
+curly-haired boys with free and open countenances; one of them happens
+to hold a scroll and the other wears a chaplet of bay leaves. There is
+a certain charm about them, a freshness and vitality which reappears
+later on when Donatello was making the dancing children for the Prato
+pulpit and the singing gallery for the Cathedral. The two prophets,
+particularly the one to the right, are clothed with a skill and
+facility all the more remarkable from the fact that some of the
+statues made soon afterwards, show a stiff and rigid treatment of
+drapery. Closely allied to these figures is a small marble statue,
+about three feet high, belonging to Madame Edouard Andre in Paris. It
+is a full-length figure of a standing youth, modelled with precision,
+and intended to be placed in a niche or against a background. Like the
+prophets just described, it has a high forehead, while the drapery
+falls in strong harmonious lines, a corner being looped up over the
+left arm. It is undoubtedly by Donatello, being the earliest example
+of his work in any collection, public or private, and on that account
+of importance, apart from its intrinsic merits.
+
+       *       *       *       *       *
+
+[Sidenote: The Cathedral Facade.]
+
+Donatello soon received commissions for statues of a more imposing
+scale to be placed on the ill-fated facade of the Cathedral. All
+beautiful within, the churches of Florence are singularly poor in
+those rich facades which give such scope to the sculptor and
+architect, conferring, as at Pisa, distinction on a whole town. The
+churches of the Carmine, Santo Spirito and San Lorenzo are without
+facades at all, presenting graceless and unfinished masonry in place
+of what was intended by their founders. Elsewhere there are late and
+florid facades alien to the spirit of the main building, while it has
+been left to our own generation to complete Santa Croce and the
+Cathedral. The latter, it is true, once had a facade, which, though
+never finished, was ambitiously planned. A large section of it was,
+however, erected in Donatello's time, but was removed for no reason
+which can be adequately explained, except that on the occasion of a
+royal marriage it was thought necessary to destroy what was contrived
+in the _maniera tedesca_, substituting a sham painted affair which was
+speedily ruined by the elements. The ethics of vandalism are indeed
+strange and varied. In this case vanity was responsible. It was
+superstition which led the Sienese, after incurring defeat by the
+Florentines, to remove from their market-place the famous statue by
+Lysippus which brought them ill-luck, and to bury it in Florentine
+territory, so that their enemies might suffer instead. Ignorance
+nearly induced a Pope to destroy the "Last Judgment" of Michael
+Angelo, whose colossal statue of an earlier Pontiff, Julius II., was
+broken up through political animosity. One wishes that in this last
+case there had been some practical provision such as that inserted by
+the House of Lords in the order for destroying the Italian Tombs at
+Windsor in 1645, when they ordained that "they that buy the tombs
+shall have liberty to transport them beyond the seas, for making the
+best advantage of them." The vandalism which dispersed Donatello's
+work could not even claim to be utilitarian, like that which so nearly
+caused the destruction of the famous chapel by Benozzo Gozzoli in the
+Riccardi Palace (for the purposes of a new staircase);[2] neither was
+it caused by the exigencies of war, such as the demolition of the
+Monastery of San Donato, a treasure-house of early painting, razed to
+the ground by the Florentines when awaiting the siege of 1529. The
+Cathedral facade was hastily removed, and only a fraction of the
+statuary has survived. Two figures are in the Louvre; another has been
+recently presented to the Cathedral by the Duca di Sermoneta, himself
+a Caetani, of Boniface VIII., a portrait-statue even more remarkable
+than that of the same Pope at Bologna. Four more figures from the old
+facade, now standing outside the Porta Romana of Florence, are misused
+and saddened relics. They used to be the major prophets, but on
+translation were crowned with laurels, and now represent Homer,
+Virgil, Dante and Petrarch. Other statues are preserved inside the
+Cathedral. Before dealing with these it is necessary to point out how
+difficult it is to determine the authorship and identity of the
+surviving figures. In the first place, our materials for
+reconstructing the design of the old facade are few. There were
+various pictures, some of which in their turn have perished, where
+guidance might have been expected. But the representations of the
+Cathedral in frescoes at San Marco, Santa Croce, the Misericordia and
+Santa Maria Novella help us but little. Up to the eighteenth century
+there used to be a model in the Opera del Duomo: this also has
+vanished, and we are compelled to make our deductions from a rather
+unsatisfactory drawing made by Bernardo Pocetti in the sixteenth
+century. It shows the disposition of statuary so sketchily that we can
+only recognise a few of the figures. But we have a perfect idea of the
+general style and aim of those who planned the facade, which would
+have far surpassed the rival frontispieces of Siena, Pisa and Orvieto.
+We are met by a further difficulty in identifying the surviving
+statues from the fact that the contracts given to sculptors by the
+Chapter do not always specify the personage to be represented.
+Moreover, in many cases the statues have no symbol attribute or
+legend, which usually guide our interpretation of mediaeval art. Thus
+Donatello is paid _pro parte solutionis unius figure marmoree_;[3] or
+for _figuram marmoream_.[4] Even when an obvious and familiar
+explanation could be given, such as Abraham and Isaac, the accounts
+record an instalment for the figure of a prophet with a naked boy at
+his feet.[5]
+
+[Footnote 2: Cinelli, p. 22.]
+
+[Footnote 3: 23, xii. 1418.]
+
+[Footnote 4: 12, xii. 1408.]
+
+[Footnote 5: 30, v. 1421.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+JOSHUA
+
+CATHEDRAL, FLORENCE]
+
+
+[Sidenote: The Daniel and Poggio.]
+
+Nine large marble figures for the Cathedral are now accepted as the
+work of Donatello. Others may have perished, and it is quite possible
+that in one at least of the other statues Donatello may have had a
+considerable share. With the exception of St. John the Baptist and St.
+John the Evangelist, all these statues are derived from the Old
+Testament--Daniel, Jeremiah and Habbakuk, Abraham and the marble David
+in the Bargello, together with the two figures popularly called
+Poggio and the Zuccone. Among the earliest, and, it must be
+acknowledged, the least interesting of these statues is the prophet
+standing in a niche in the south aisle close to the great western door
+of the Cathedral. It has been long recognised as a Donatello,[6] and
+has been called Joshua. But, apart from the fact that he holds the
+scroll of a prophet, whereas one would rather expect Joshua to carry a
+sword, this statue is so closely related to the little prophets of the
+Mandorla door that it is almost certainly coeval with them, and
+consequently anterior in date to the period of the Joshua for which
+Donatello was paid some years later. We find the same broad flow of
+drapery, and the weight of the body is thrown on to one hip in a
+pronounced manner, which is certainly ungraceful, though typical of
+Donatello's early ideas of balance. It probably represents Daniel. He
+has the high forehead, the thick curly hair and the youthful
+appearance of the other prophets, while his "countenance appears
+fairer and fatter in flesh,"[7] reminding one of Michael Angelo's
+treatment of the same theme in the Sistine Chapel.
+
+[Footnote 6: Osservatore Fiorentino, 1797, 3rd ed., iv. 216.]
+
+[Footnote 7: Daniel i. 15.]
+
+Like several of Donatello's statues, this figure is connected with the
+name of a Florentine citizen, Giannozzo Manetti, and passes for his
+portrait. There is no authority for the tradition, and Vespasiano de'
+Bisticci makes no reference to the subject in his life of Manetti. The
+statue is, no doubt, a portrait and may well have resembled Manetti,
+but in order to have been directly executed as a portrait it could
+scarcely have been made before 1426, when Manetti was thirty years
+old, by which date the character of Donatello's work had greatly
+changed. These traditional names have caused many critical
+difficulties, as, when accepted as authentic, the obvious date of the
+statue has been arbitrarily altered, so that the statue may harmonise
+in point of date of execution with the apparent age of the individual
+whom it is supposed to portray. A second example of the confusion
+caused by the over-ready acceptance of these nomenclatures is afforded
+by the remarkable figure which stands in the north aisle of the
+Cathedral, opposite the Daniel. This statue has been called a portrait
+of Poggio Bracciolini, the secretary of many Popes. Poggio was born in
+1380 and passed some time in Florence during the year 1456. It has,
+therefore, been assumed[8] that the statue was made at this time or
+shortly afterwards, either as Donatello's tribute of friendship to
+Poggio or as an order from the Cathedral authorities in his
+commemoration. This theory is wholly untenable. We have no record of
+any such work in 1456. The statue does not portray a man seventy-six
+years old. Distinguished as Poggio was, his nature did not endear him
+greatly to the Florentine churchmen; and, finally, the style of the
+sculpture predicates its execution between 1420 and 1430. We can, of
+course, admit that Poggio's features may have been recognised in the
+statue, and that it soon came to be considered his portrait. In any
+case, however, we are dealing with a portrait-statue. The keen and
+almost cynical face, with its deep and powerful lines, is certainly no
+creation of the fancy, but the study of somebody whom Donatello knew.
+It is true there are contradictions in the physiognomy: sarcasm and
+benevolence alternate, as the dominating expression of the man's
+character. The whole face is marked by the refinement of one from whom
+precision and niceness of judgment would be expected. It is not
+altogether what Poggio's achievements would lead one to expect;
+neither is it of a type which, as has been suggested, would allow us
+to call it the missing Joshua. The idea that Job may be the subject is
+too ingenious to receive more than a passing reference.[9]
+
+[Footnote 8: Semper, I., p. 132.]
+
+[Footnote 9: Schmarsow, p. 10.]
+
+[Illustration: _Alinari_
+
+POGGIO
+
+CATHEDRAL, FLORENCE]
+
+There is one detail in the statue of Poggio which raises a problem
+familiar to students of fifteenth-century art, especially frequent in
+paintings of the Madonna, namely, the cryptic lettering to be found on
+the borders of garments. In the case of Poggio, the hem of the tunic
+just below the throat is incised with deep and clear cyphers which
+cannot be read as a name or initials. Many cases could be quoted to
+illustrate the practice of giving only the first letters of words
+forming a sentence.[10] In this case the script is not Arabic, as on
+Verrocchio's David. The lettering on the Poggio, as on Donatello's
+tomb of Bishop Pecci at Siena and elsewhere, has not been
+satisfactorily explained. Even if painters were in the habit of
+putting conventional symbols on their pictures in the form of
+inscriptions, it is not likely that this careful and elaborate carving
+should be meaningless. The solution may possibly be found in Vettorio
+Ghiberti's drawing of a bell, the rim of which is covered with similar
+hieroglyphics. The artist has transcribed in plain writing a pleasant
+Latin motto which one may presume to be the subject of the
+inscription. If this were accurately deciphered a clue might be found
+to unravel this obscure problem.[11]
+
+[Footnote 10: The conclusion of Dello's epitaph, as recorded by
+Vasari, is H.S.E.S.T.T.L.--_i.e._, _Hic sepultus est, sit tibi terra
+levis_. The bas-relief of Faith in the Bargello is signed O.M.C.L.,
+_i.e._, _Opus Mattaei Civitali Lucensis_. There is a manuscript of St.
+Jerome in the Rylands Library at Manchester in which long texts are
+quoted by means of the initial letters alone.]
+
+[Footnote 11: MS. Sketch-Book in Bibl. Naz., Florence, lettered
+"Ghiberti," folio 51a.]
+
+[Illustration: _Alinari_
+
+MOCENIGO TOMB
+
+SAN GIOVANNI E PAOLO, VENICE]
+
+Closely analogous to the statue which we must continue to call Poggio
+is a striking figure of Justice surmounting the tomb of Tommaso
+Mocenigo in the Church of San Giovanni e Paolo at Venice. Mocenigo
+died in 1423, and the tomb was made by two indifferent Florentine
+artists, whose poor and imitative work must be referred to later on in
+connection with the St. George. But the Justice, a vigorous and
+original figure, holding a scroll and looking downwards, so absolutely
+resembles the Poggio in conception, attitude, and fall of drapery,
+that the authorship must be referred to Donatello himself. It is
+certainly no copy. One cannot say how this isolated piece of
+Donatello's work should have found its way to Venice, although by 1423
+Donatello's reputation had secured him commissions for Orvieto and
+Ancona and Siena. But it is not necessary to suppose that this Justice
+was made to order for the Mocenigo tomb; had it remained in Florence
+it would have been long since accepted as a genuine example of the
+master.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. JOHN THE EVANGELIST
+
+CATHEDRAL, FLORENCE]
+
+
+[Sidenote: St. John the Evangelist and the marble David.]
+
+The third great statue made for the facade by Donatello is now placed
+in a dark apsidal chapel, where the light is so bad that the figure is
+often invisible. This is the statue of St. John the Evangelist, and is
+much earlier than Poggio, having been ordered on December 12, 1408.
+Two evangelists were to be placed on either side of the central door.
+Nanni di Banco was to make St. Luke, Niccolo d'Arezzo St. Mark, and
+it was intended that the fourth figure should be entrusted to the most
+successful of the three sculptors; but in the following year the
+Domopera changed their plan, giving the commission for St. Matthew to
+Bernardo Ciuffagni, a sculptor somewhat older than Donatello.
+Ciuffagni was not unpopular as an artist, for he received plenty of
+work in various parts of Italy; but he was a man of mediocre talent,
+neither archaic nor progressive, making occasional failures and
+exercising little influence for good or ill upon those with whom he
+came in contact. He has, however, one valued merit, that of being a
+man about whom we have a good deal of documentary information.
+Donatello worked on the St. John for nearly seven years, and,
+according to custom, was under obligation to complete the work within
+a specified time. Penalty clauses used to be enforced in those days.
+Jacopo della Quercia ran the danger of imprisonment for neglecting the
+commands of Siena. Torrigiano having escaped from England was recalled
+by the help of Ricasoli, the Florentine resident in London, and was
+fortunate to avoid punishment. Donatello finished his statue in time,
+and received his final instalment in 1415, the year in which the
+figures were set up beside the great Porch. This evangelist, begun
+when Donatello was twenty-two and completed before his thirtieth year,
+challenges comparison with one worthy rival, the Moses of Michael
+Angelo. The Moses was the outcome of many years of intermittent
+labour, and was created by the help of all the advances made by
+sculpture during a century of progress. Yet in one respect only can
+Michael Angelo claim supremacy. Hitherto Donatello had made nothing
+but standing figures. The St. John sits; he is almost inert, and does
+not seem to await the divine message. But how superb it is, this
+majestic calm and solemnity; how Donatello triumphs over the lack of
+giving tension to what is quiescent! The Penseroso also sits and
+meditates, but every muscle of the reposing limbs is alert. So, too,
+in the Moses, with all its exaggeration and melodrama, with its aspect
+of frigid sensationalism, which led Thackeray to say he would not like
+to be left alone in the room with it, we find every motionless limb
+imbued with vitality and the essentials of movement. The Moses
+undoubtedly springs from the St. John, transcending it as Beethoven
+surpassed Haydn. In spite of nearly unpardonable faults verging on
+decadence, it is the greater though the less pleasing creation of the
+two. The St. John surveys the world; the Moses speaks with God.
+
+[Illustration: _Alinari_
+
+MARBLE DAVID
+
+BARGELLO, FLORENCE]
+
+The fourth statue made for the Cathedral proper is contemporary with
+the St. John. The marble David, ordered in 1408 and completed in 1416,
+was destined for a chapel inside the church. The Town Commissioners,
+however, sent a somewhat peremptory letter to the Domopera and the
+statue was handed over to them. It was placed in the great hall of the
+Palace, was ultimately removed to the Uffizzi, and is now in the
+Bargello Museum. The David certainly has a secular look. This ruddy
+youth of a fair countenance, crowned with a wreath, stands in an
+attitude which is shy and perhaps awkward, and by his feet lies the
+head of Goliath with the smooth stone from the brook deeply embedded
+in his forehead. The drapery of the tunic is close fitting, moulded
+exactly to the lines of his frame, and above it a loose cloak hangs
+over the shoulders and falls to the ground with a corner of cloth
+looped over one of the wrists in a familiar way.[12] It would be
+idle to pretend that the David is a marked success like the St. John.
+It neither attains an ideal, as in the St. George, nor is it a
+profound interpretation of character like the Habbakuk or Jeremiah.
+Its effect is impaired by this sense of compromise and uncertainty. It
+is one of the very rare cases in which Donatello hesitated between
+divergent aims and finally translated his doubts into marble.
+
+[Footnote 12: _Cf._ Madame Andre's prophet and figures on Mandorla
+door.]
+
+       *       *       *       *       *
+
+[Sidenote: Statues of the Campanile.]
+
+We must now refer to a group of statues which adorn the Campanile, the
+great Bell tower designed by Giotto for the Cathedral. Not counting
+the numerous reliefs, there are sixteen statues in all, four on each
+side of the tower, and in themselves they epitomise early Florentine
+sculpture. Donatello's statues of Jeremiah, Abraham, and St. John the
+Baptist offer no difficulties of nomenclature, but the Zuccone and the
+Habbakuk are so called on hypothetical grounds. The Zuccone has been
+called by this familiar nickname from time immemorial: bald-head or
+pumpkin--such is the meaning of the word, and nobody has hitherto
+given a reasoned argument to identify this singular figure with any
+particular prophet. As early as 1415 Donatello received payment for
+some of this work, and the latest record on the subject is dated 1435.
+We may therefore expect to find some variety in idea and considerable
+development in technique during these twenty years. Donatello was not
+altogether single-handed. It is certain that by the time these
+numerous works were being executed he was assisted by scholars, and
+the Abraham was actually made in collaboration with Giovanni di
+Bartolo, surnamed Il Rosso. It is not easy to discriminate between the
+respective shares of the partners. Giovanni was one of those men whose
+style varied with the dominating influence of the moment. At Verona he
+almost ceased to be Florentine: at Tolentino he was himself; working
+for the Campanile he was subject to the power of Donatello. The
+Prophet Obadiah, which corresponds in position to the St. John Baptist
+of Donatello on the western face of the tower, shows Rosso to have
+been a correct and painstaking sculptor, with notions much in advance
+of Ciuffagni's; noticeable also for a refinement in the treatment of
+hands, in which respect many of his rivals lagged far behind. Judging
+from the inscription at Verona, Rosso was appreciated by others--or by
+himself:[13] he is, in fact, an artist of merit, rarely falling below
+a respectable average in spite of the frequency with which he changed
+his style.
+
+[Footnote 13: On the Brenzoni tomb in the Church of San Fermo: "Quem
+genuit Russi Florentia Tusca Johanis: istud sculpsit opus ingeniosa
+manus."]
+
+       *       *       *       *       *
+
+[Sidenote: St. John the Baptist.]
+
+Rosso does not compare favourably with Donatello. Obadiah is less
+attractive than St. John the Baptist, its _pendant_. The test is
+admittedly severe, for the St. John is a figure remarkable alike in
+conception and for its technical skill. Were it not for the scroll
+bearing the "Ecce Agnus Dei," we should not suggest St. John as the
+subject. Donatello made many Baptists--boys, striplings and men young
+and mature: but in this case only have we something bright and
+cheerful. He is no mystic; he differs fundamentally from the gloomy
+ascetic and the haggard suffering figures in Siena and Berlin. So far
+from being morose in appearance, clad in raiment of camel's hair, fed
+upon locusts and wild honey, and summoning the land of Judaea to
+repent, we have a vigorous young Tuscan, well dressed and well fed,
+standing in an easy and graceful attitude and not without a tinge of
+pride in the handsome countenance. In short, the statue is by no means
+typical of the Saint. It would more aptly represent some romantic
+knight of chivalry, a Victor, a Maurice--even a St. George. It
+competes with Donatello's own version of St. George. In all essentials
+they are alike, and the actual figures are identical in gesture and
+pose, disregarding shield and armour in one case, scroll and drapery
+in the other. The two figures are so analogous, that as studies from
+the nude they would be almost indistinguishable. They differ in this:
+that the Saint on the Campanile is John the Baptist merely because we
+are told so, while the figure made for Or San Michele is inevitably
+the soldier saint of Christendom. It must not be inferred that the
+success of plastic, skill less that of pictorial, art depends upon the
+accuracy or vividness with which the presentment "tells its story."
+Under such a criterion the most popular work of art would necessarily
+bear the palm of supremacy. But there should be some relation between
+the statue and the subject-matter. Nobody knew this better than
+Donatello: he seldom incurred the criticism directed against Myron the
+sculptor--_Animi sensus non expressisse videtur_.[14] The occasional
+error, such as that just noticed, or when he gives Goliath the head of
+a mild old gentleman,[15] merely throws into greater prominence the
+usual harmony between his conception and its embodiment. The task of
+making prophets was far from simple. Their various personalities,
+little known in our time, were conjectural in his day: neither would
+the conventional scroll of the prophet do more than give a generic
+indication of the kind of person represented. Donatello, however, made
+a series of figures from which the [Greek: ethos] of the prophets
+emanates with unequalled force.
+
+[Footnote 14: Pliny, xxxiv. 19, 3.]
+
+[Footnote 15: Bargello David.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+JEREMIAH
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: Jeremiah and the Canon of Art.]
+
+The Jeremiah, for instance, which is in the niche adjacent to the
+still more astonishing Zuccone (looking westwards towards the
+Baptistery), is a portrait study of consummate power. It is the very
+man who wrote the sin of Judah with a pen of iron, the man who was
+warned not to be dismayed at the faces of those upon whose folly he
+poured the vials of anger and scorn; he is emphatically one of those
+who would scourge the vices of his age. And yet this Jeremiah has his
+human aspect. The strong jaw and tightly closed lips show a decision
+which might turn to obstinacy; but the brow overhangs eyes which are
+full of sympathy, bearing an expression of sorrow and gentleness such
+as one expects from the man who wept for the miserable estate of
+Jerusalem--_Quomodo sedet sola civitas!_
+
+Tradition says that this prophet is a portrait of Francesco Soderini,
+the opponent of the Medici; while the Zuccone is supposed to be the
+portrait of Barduccio Cherichini, another anti-Medicean partisan.
+Probabilities apart, much could be urged against the attributions,
+which are really on a par with the similar nomenclatures of Manetti
+and Poggio. The important thing is that they are undoubted
+portraits, their identity being of secondary interest; the fact that a
+portrait was made at all is of far greater moment to the history of
+art. Later on, Savonarola (whose only contribution to art was an
+unconscious inspiration of the charming woodcuts with which his
+sermons and homilies were illustrated) protested warmly against the
+prevailing habit of giving Magdalen and the Baptist the features of
+living and well-known townsfolk.[16] The practice had, no doubt, led
+to scandal. But with Donatello it marks an early stage in emancipation
+from the bondage of conventionalism. Not, indeed, that Donatello was
+the absolute innovator in this direction, though it is to his efforts
+that the change became irresistible. Thus in these portrait-prophets
+we find the proof of revolution. The massive and abiding art of Egypt
+ignored the personality of its gods and Pharaohs, distinguishing the
+various persons by dress, ornament, and attribute. They had their
+canon of measurement, of which the length of the nose was probably the
+unit.[17] The Greeks, who often took the length of the human foot as
+unit, were long enslaved by their canon. Convention made them adhere
+to a traditional face after they had made themselves masters of the
+human form. The early figures of successful athletes were
+conventional; but, according to Pliny, when somebody was winner three
+times the statue was actually modelled from his person, and was called
+a portrait-figure: "_ex membris ipsorum similitudine expressa, quas
+iconicas vocant!_" Not until Lysistratus first thought of reproducing
+the human image by means of a cast from the face itself, did they get
+the true portrait in place of their previous efforts to secure
+generalised beauty.[18] In fact, their canon was so stringent that it
+would permit an Apollo Belvedere to be presented by foppish,
+well-groomed adolescence, with plenty of vanity but with little
+strength, and altogether without the sign-manual of godhead or
+victory. Despite shortcomings, Donatello seldom made the mistake of
+merging the subject in the artist's model: he did not forget that the
+subject of his statue had a biography. He had no such canon. Italian
+painting had been under the sway of Margaritone until Giotto destroyed
+the traditional system. Early Italian coins show how convention breeds
+a canon--they were often depraved survivals of imperial coins, copied
+and recopied by successive generations until the original meaning had
+completely vanished, while the semblance remained in debased outline.
+Nothing can be more fatal than to make a canon of art, to render
+precise and exact the laws of aesthetics. Great men, it is true, made
+the attempt. Leonardo, for instance, gives the recipe for drawing
+anger and despair. His "Trattato della Pintura"[19] describes the
+gestures appropriate for an orator addressing a multitude, and he
+gives rules for making a tempest or a deluge. He had a scientific law
+for putting a battle on to canvas, one condition of which was that
+"there must not be a level spot which is not trampled with gore." But
+Leonardo da Vinci did no harm; his canon was based on literary rather
+than artistic interests, and he was too wise to pay much attention to
+his own rules. Another man who tried to systematise art was Leon
+Battista Alberti, who gave the exact measurements of ideal beauty,
+length and circumference of limbs, &c., thus approaching a physical
+canon. The absurdity of these theories is well shown in the "Rules of
+Drawing Caricatures," illustrated by "mathematical diagrams."[20]
+Development and animation are impossible wherever an art is governed
+by this sterile and deadening code of law. The religious art of the
+Eastern Church has been stationary for centuries, confined within the
+narrow limits of hieratic conventions. Mount Athos has the pathetic
+interest of showing the dark ages surviving down to our own day in the
+vigour of unabated decadence. Though not subjected to any serious
+canon, the predecessors of Donatello seemed at one time in danger of
+becoming conventionalised. But Donatello would not permit his art to
+be divorced from appeals to reason and intellect; once started, his
+theory held its own. Donatello was bound by no laws; with all its
+cadence and complexity his art was unsuited to a canon as would be the
+art of music. He seems almost to have disregarded the ordinary
+physical limitations under which he worked. He had no "cant of
+material," and whether in stone, bronze, wood, or clay, he went
+straight ahead in the most unconcerned manner.
+
+[Footnote 16: In 1496. See Gruyer, "Les Illustrations," 1879, p. 206.]
+
+[Footnote 17: C. Mueller, "Ancient Art and its Remains," p. 227.]
+
+[Footnote 18: Pliny, xxxvi. 44.]
+
+[Footnote 19: Printed in Richter's "Literary Works of Leonardo da
+Vinci," vol. i.]
+
+[Footnote 20: By Francis Grose, the Antiquary. London, 1788.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+HABAKKUK
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: Habbakuk and the Sense of Distance.]
+
+We do not know much about Habbakuk. He left two or three pages of
+passionate complaint against the iniquity of the land, but his
+"burden" lacks those outbursts of lyric poetry which are found in most
+of the other minor prophets. Donatello gives him the air of a thinker.
+He holds a long scroll to which he points with his right hand while
+looking downward, towards the door of the Cathedral. It is a strong
+head, as full of character as the Jeremiah. But Habbakuk is less the
+man of action, and the deep lines about the mouth and across the
+forehead show rather the fruits of contemplation. There may be a note
+of scepticism in the face. But this Habbakuk is no ascetic, and there
+is much strength in reserve: his comment though acrid would be just.
+The veins in the throat stand out like cords. They are much more
+noticeable in the photograph than when one sees the statue from the
+Piazza. It must be remembered that these figures on the Campanile are
+something like fifty-five feet from the ground: they were made for
+these lofty positions, and were carved accordingly. They show
+Donatello's sense of distance; the Zuccone shows his sense of light
+and shade, the Abraham his sense of proportion. Donatello had the
+advantage of making these figures for particular places; his sculpture
+was eminently adapted to the conditions under which it was to be seen.
+In the vast majority of cases modern sculpture is made for
+undetermined positions, and is fortunate if it obtains a suitable
+_emplacement_. It seldom gets distance, light and proportion in
+harmony with the technical character of the carving. Donatello paid
+the greatest care to the relation between the location of the statue
+and its carving: his work consequently suffers enormously by removal:
+to change its position is to take away something given it by the
+master himself. The Judith looks mean beneath the Loggia de' Lanzi;
+the original of the St. George in the museum is less telling than the
+copy which has replaced it at Or San Michele. Photography is also apt
+to show too clearly certain exaggerations and violences deliberately
+calculated by Donatello to compensate for distance, as on the
+Campanile, or for darkness, as on the Cantoria. The reproductions,
+therefore, of those works not intended to be seen from close by
+must be judged with this reservation. The classical sculptors seem to
+have been oblivious of this sense of distance. Cases have been quoted
+to show that they did realise it, such as the protruding forehead of
+Zeus or the deep-set eyes of the Vatican Medusa. These are accidents,
+or at best coincidences, for the sense of distance is not shown by
+merely giving prominence to one portion or feature of a face. In Roman
+art the band of relief on the Column of Trajan certainly gets slightly
+broader as the height increases: but the modification was
+half-hearted. It does not help one to see the carving, which at the
+summit is almost meaningless, while it only serves to diminish the
+apparent height of the column. So, too, in the triumphal arches of the
+Roman Emperors little attention was paid to the relative and varying
+attitudes of the bas-reliefs. From Greek art the Parthenon Frieze
+gives a singular example of this unrealised law. When _in situ_ the
+frieze was only visible at a most acute angle and in a most
+unfavourable light: beyond the steps it vanished altogether, so one
+was obliged to stand among the columns to see it at all, and it was
+also necessary to look upwards almost perpendicularly. The frieze is
+nearly three feet four inches high and its upper part is carved in
+rather deeper relief than the base: but, even so, the extraordinary
+delicacy of this unique carving was utterly wasted, since the
+technical treatment of the marble was wholly unsuited to its
+_emplacement_. The amazing beauty of the sculpture and the unsurpassed
+skill of Phidias were never fully revealed until its home had been
+changed from Athens to Bloomsbury.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+THE ZUCCONE
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: The Zuccone, "Realism" and Nature.]
+
+The Zuccone is one of the eternal mysteries of Italian art. What can
+have been Donatello's intention? Why give such prominence to this
+graceless type? Baldinucci called it St. Mark.[21] Others have been
+misled by the lettering on the plinth below the statue "David Rex":
+beneath the Jeremiah is "Salomon Rex."[22] These inscriptions
+belonged, of course, to the kings which made way for Donatello's
+prophets. The Zuccone must belong to the series of prophets; it is
+fruitless to speculate which. Cherichini may have inspired the
+portrait. Its ugliness is insuperable. It is not the vulgar ugliness
+of a caricature, nor is it the audacious embodiment of some hideous
+misshapen creature such as we find in Velasquez, in the Gobbo of
+Verona, or in the gargoyles of Notre Dame. There is no deformity about
+it, probably very little exaggeration. It is sheer uncompromising
+ugliness; rendered by the cavernous mouth, the blear eyes, the flaccid
+complexion, the unrelieved cranium--all carried to a logical
+conclusion in the sloping shoulders and the simian arms. But the
+Zuccone is not "revenged of nature": there is nothing to "induce
+contempt." On the other hand, indeed, there is a tinge of sadness and
+compassion, objective and subjective, which gives it a charm, even a
+fascination. _Tanto e bella_, says Bocchi, _tanto e vera, tanto e
+naturale_, that one gazes upon it in astonishment, wondering in truth
+why the statue does not speak![23] Bocchi's criticism cannot be
+improved. The problem has been obfuscated by the modern jargon of art.
+Donatello has been charged with orgies of realism and so forth. There
+may be realism, but the term must be used with discretion: nowadays
+it generally connotes the ugly treatment of an ugly theme, and is
+applied less as a technical description than as a term of abuse.
+Donatello was certainly no realist in the sense that an ideal was
+excluded, nor could he have been led by realism into servile imitation
+or the multiplication of realities. After a certain point the true
+ceases to be true, as nobody knew better than Barye, the greatest of
+the "realists." The Zuccone can be more fittingly described in
+Bocchi's words. It is the creation of a verist, of a naturalist,
+founded on a clear and intimate perception of nature. Donatello was
+pledged to no system, and his only canon, if such existed, was the
+canon of observation matured by technical ability. We have no reason
+to suppose that Donatello claimed to be a deep thinker. He did not
+spend his time, like Michael Angelo, in devising theories to explain
+the realms of art. He was without analytical pedantry, and, like his
+character, his work was naive and direct. Nor was he absorbed by
+appreciation of "beauty," abstract or concrete. If he saw a man with a
+humped back or a short leg he would have been prepared to make his
+portrait, assuming that the entity was not in conflict with the
+subject in hand. Hence the Zuccone. Its mesmeric ugliness is the
+effect of Donatello's gothic creed, and it well shows how Donatello,
+who from his earliest period was opposed to the conventions of the
+Pisan school, took the lead among those who founded their art upon the
+observation of nature. A later critic, shrewd and now much neglected,
+said that Titian "contented himself with pure necessity, which is the
+simple imitation of nature."[24] One could not say quite so much of
+Donatello, in whom, curiously enough, the love of nature was limited
+to its human aspect. He seems to have been impervious to outdoor
+nature, to the world of plants and birds and beasts. Ghiberti, his
+contemporary, was a profound student of natural life in all its forms,
+and the famous bronze doors of the Baptistery are peopled with the
+most fanciful products of his observation. "I strove to imitate nature
+to the utmost degree," he says in his commentary.[25] Thus Ghiberti
+makes a bunch of grapes, and wanting a second bunch as _pendant_, he
+takes care to make it of a different species. The variety and richness
+of his fruit and flower decoration are extraordinary and, if possible,
+even more praiseworthy than the dainty garlands of the Della Robbia.
+With Donatello all is different. He took no pleasure in enriching his
+sculpture in this way. The Angel of the Annunciation carries no lily;
+when in the Tabernacle of St. Peter's he had to decorate a pilaster he
+made lilies, but stiff and unreal. His trees in the landscape
+backgrounds of the Charge to Peter and the Release of Princess Sabra
+by St. George are tentative and ill-drawn. The children of the
+Cantoria, the great singing gallery made for the Cathedral, are
+dancing upon a ground strewn with flowers and fruit. The idea was
+charming, but in executing it Donatello could only make _cut_ flowers
+and withered fruit. There is no life in them, no savour, and the
+energy of the children seems to have exhausted the humbler form of
+vitality beneath their feet. Years afterwards, when Donatello's
+assistants were allowed a good deal of latitude, we find an effort to
+make more use of this invaluable decoration: the pulpits of San
+Lorenzo, for instance, have some trees and climbing weeds showing keen
+study of nature. But Donatello himself always preferred the
+architectural background, in contrast to Leonardo da Vinci, who, with
+all his love of building, seldom if ever used one in the backgrounds
+of his pictures: but then Leonardo was the most advanced botanist of
+his age.
+
+[Footnote 21: Edition 1768, p. 74.]
+
+[Footnote 22: _E.g._, Milanesi, Catalogo, 1887, p. 6.]
+
+[Footnote 23: Cinelli's edition, 1677, p. 45.]
+
+[Footnote 24: Raffaelle Mengs, Collected Works. London, 1796, I., p.
+132.]
+
+[Footnote 25: Printed in Vasari, Lemonnier Ed., 1846, vol. i.]
+
+       *       *       *       *       *
+
+[Sidenote: The Zuccone and the Sense of Light and Shade.]
+
+Speaking of the employment of light and shade as instruments in art,
+Cicero says: "_Multa vident pictores in umbris et in eminentia, quae
+nos non videmus_." One may apply the dictum to the Zuccone where
+Donatello has carved the head with a rugged boldness, leaving the play
+of light and shade to complete the portrait. Davanzati was explicit on
+the matter,[26] showing that the point of view from which the Zuccone
+was visible made this coarse treatment imperative, if the spectator
+below was to see something forcible and impressive. "The eyes," he
+says, "are made as if they were dug out with a shovel: eyes which
+would appear lifelike on the ground level would look blind high up on
+the Campanile, for distance consumes diligence--_la lontananza si
+mangia la diligenzia_." The doctrine could not be better stated, and
+it governs the career of Donatello. There is nothing like the Zuccone
+in Greek art: nothing so ugly, nothing so wise. Classical sculptors in
+statues destined for lofty situations preserved the absolute truth of
+form, but their diligence was consumed by distance. What was true in
+the studio lost its truth on a lofty pediment or frieze. They
+preserved accuracy of form, but they sacrificed accuracy of
+appearance; whereas relative truth was in reality far more
+important--until, indeed, the time comes when the lights and shades of
+the studio are reproduced in some art gallery or museum.
+
+[Footnote 26: In Introduction to his translation of Tacitus.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ABRAHAM AND ISAAC
+
+CAMPANILE, FLORENCE]
+
+
+[Sidenote: Abraham and the Sense of Proportion.]
+
+The statue of Abraham and Isaac on the east side of the Campanile is
+interesting as being the first group made by Donatello. The subject
+had already been treated by Brunellesco and Ghiberti in relief.
+Donatello had to make his figures on a larger scale. Abraham is a
+tall, powerful man with a long flowing beard, looking upwards as he
+receives the command to sheath the dagger already touching the
+shoulder of his son. The naked boy is kneeling on his left leg and is
+modelled with a good deal of skill, though, broadly speaking, the
+treatment is rather archaic in character. It is a tragic scene, in
+which the contrast of the inexorable father and the resigned son is
+admirably felt. Donatello had to surmount a technical difficulty, that
+of putting two figures into a niche only intended for one. His sense
+of proportion enabled him to make a group in harmony with its position
+and environment. It _fits_ the niche. Statues are so often unsuited to
+their niches; scores of examples could be quoted from Milan Cathedral
+alone where the figures are too big or too small, or where the base
+slopes downwards and thus fails to give adequate support to the
+figure. There is an old tradition which illustrates Donatello's
+aptitude for grouping. Nanni di Banco had to put four martyrs into a
+niche of Or San Michele, and having made his statues found it
+impossible to get them in. Donatello was invoked, and by removing a
+superfluous bit of marble here, and knocking off an arm there, the
+four figures were successfully grouped together. The statues, it must
+be admitted, show no signs of such usage, and Nanni was a competent
+person: but the story would not have been invented unless Donatello
+had been credited in his own day with the reputation of being a
+master of proportion and grouping. Donatello, however, never really
+excelled in the free standing group. His idea was a suite or series of
+figures against a background, a bas-relief. The essential quality of a
+group is that there should be something to unite the figures. We find
+this in the Abraham, but the four martyrs by Nanni di Banco are
+standing close together as if by chance, and cannot properly be called
+a group in anything but juxtaposition of figures. Il Rosso helped to
+make Abraham. The commission was given jointly to the two sculptors in
+March 1421, and the statue was finished, with unusual expedition, by
+November of the same year. The hand of Rosso cannot be easily detected
+except in the drapery, which differs a good deal from Donatello's. The
+latter must have been chiefly responsible for the grouping and wholly
+so for the fine head of Abraham.
+
+       *       *       *       *       *
+
+[Sidenote: Drapery and Hands.]
+
+Rosso's drapery was apt to be treated in rather a small way with a
+number of little folds. Donatello, on the other hand, often tended to
+the opposite extreme, and in the Campanile figures we see the clothes
+hanging about the prophets in such ample lines that the Zuccone and
+Jeremiah are overweighted with togas which look like heavy blankets.
+Habbakuk and the Baptist are much more skilfully draped, deference
+being shown to the anatomy. "To make drapery merely natural," said Sir
+Joshua Reynolds, "is a mechanical operation to which neither genius
+nor taste are required: whereas it requires the nicest judgment to
+dispose the drapery so that the folds have an easy communication, and
+gracefully follow each other with such natural negligence as to look
+like the effect of chance, and at the same time show the figure under
+it to the utmost advantage."[27] The sculptors of the fifteenth
+century did not find it so easy to make drapery look purely natural,
+and we are often confronted by cases where they failed in this
+respect. It arose partly from a belief that drapery was nothing more
+than an accessory, partly also from their ignorance of what was so
+fully realised by the Greeks, that there can be very little grace in a
+draped figure unless there are the elements of beauty below. Another
+comment suggested by Donatello's early work in marble is that he was
+not quite certain how to model or dispose the hands. They are often
+unduly big; Michael Angelo started with the same mistake: witness his
+David and the Madonna on the Stairs. It was a mistake soon rectified
+in either case. But till late in life Donatello never quite succeeded
+in giving nerve or occupation to his hands. St. Mark, St. Peter, and
+St. John all have a book in their left hands, but none of them _hold_
+the book; it has no weight, the hand shows no grip and has no sense of
+possession. Neither did Donatello always know where to put the hands,
+giving them the shy and self-conscious positions affected by the
+schoolboy. The Bargello David is a case in point. His hands are idle,
+they have really nothing to do, and their position is arbitrary in
+consequence. It is all a descent from the Gothic, where we find much
+that is inharmonious and paradoxical, and a frequent lack of concord
+between the component parts. St. George, standing erect in his niche,
+holds the shield in front of him, its point resting on the ground.
+But, notwithstanding the great progress made by Donatello in
+modelling these hands--(so much indeed that one might almost suspect
+the bigger hands of contemporary statues to be faithful portraits of
+bigger hands)--one feels that the shield does not owe its upright
+position to the constraint of the hands. They do not reflect the
+outward pressure of the heavy shield, which could almost be removed
+without making it necessary to modify their functions or position. It
+was reserved for Michael Angelo to achieve the unity of purpose and
+knowledge needed in portraying the human hand. He was the first among
+Italian sculptors to render the relation of the hand to the wrist, the
+wrist to the forearm, and thence to the shoulder and body. In the
+fifteenth century nobody fully understood the sequence of muscles
+which correlates every particle of the limb, and Donatello could not
+avoid the halting and inconclusive outcome of his inexperience.
+
+[Footnote 27: Discourses, 1778, p. 116.]
+
+       *       *       *       *       *
+
+[Sidenote: Minor Works for the Cathedral.]
+
+There remain a few minor works for the Cathedral which require notice.
+In October 1421 an unfinished figure by Ciuffagni was handed over to
+Donatello and Il Rosso. It is probable that Dr. Semper is correct in
+thinking that this may be the statue on the East side of the Cathedral
+hitherto ascribed to Niccolo d'Arezzo, though it can hardly be the
+missing Joshua. We have here a middle-aged man with a long beard, his
+head inclined forward and supported by his upraised hand with its
+forefinger extended. Donatello was fond of youth, but not less of
+middle age. With all their power these prophets are middle-aged men
+who would walk slowly and whose gesture would be fraught with mature
+dignity. Donatello did not limit to the very young or the very old the
+privilege of seeing visions and dreaming dreams. Two other statues by
+Donatello have perished. These are Colossi,[28] ordered probably
+between 1420 and 1425, and made of brick covered with stucco or some
+other kind of plaster. They stood outside the church, on the buttress
+pillars between the apsidal chapels. One of them was on the north
+side, as an early description mentions the "_Gigante sopra la
+Annuntiata_,"[29] that is above the Annunciation on the Mandorla door.
+The perishable material of these statues was selected, no doubt, owing
+to the difficulty and expense of securing huge monoliths of marble. In
+this case one must regret their loss, as the distance from which they
+would be seen would amply justify their heroic dimensions. But the
+idea of Colossi, which originated in Egypt and the East, is to
+astonish, and to make the impression through the agency of bulk. The
+David by Michael Angelo is great in spite of its unwieldiness. Michael
+Angelo himself was under no illusions about these Colossi. His letter
+criticising the proposal to erect a colossal statue of the Pope on the
+Piazza of San Lorenzo is in itself a delightful piece of humour, and
+ridiculed the conceit with such pungency that the project was
+abandoned. Finally, Donatello made two busts of prophets for the
+Mandorla door. The commission is previous to May 1422, when it is
+noted that Donatello was to receive six golden florins for his work.
+They are profile heads carved in relief upon triangular pieces of
+marble, which fill two congested architectural corners. They look like
+the result of a whim, and at first sight one would think they were
+ordered late in the history of the door to supplement or replace
+something unsatisfactory. But this is not the case. Half corbel and
+half decoration, they are curious things: one shows a young man, the
+other an older bearded man. Both have long hair drawn back by a
+fillet, and in each case one hand is placed across the breast. They
+have quite a classical look, and are the least interesting as well as
+the least noticeable of the numerous sculptures made for the Cathedral
+by Donatello. The Domopera evidently appreciated his talent. To this
+day, besides these busts and the two small prophets, there survive at
+least nine marble figures made for the Duomo, some of them well over
+life size. There were also the Colossi, and it will be seen later on
+that the Domopera gave him further commissions for bronze doors,
+Cantoria, altar and stained glass; he also was employed as an
+architectural expert. Years of Donatello's life were spent on the
+embellishment of Santa Maria del Fiore, a gigantic task which he
+shared with his greatest predecessors and his most able
+contemporaries. The task, indeed, was never fully accomplished. The
+Campanile is not crowned by the spire destined for it by Giotto: the
+facade has perished and the interior is marred by the errors of
+subsequent generations. But the Cathedral of Florence must
+nevertheless take high rank among the most stately churches of
+Christendom.
+
+[Footnote 28: They were standing as late as 1768. Baldinucci, p. 79.]
+
+[Footnote 29: Memoriale, 1510.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. MARK
+
+OR SAN MICHELE]
+
+
+[Sidenote: Or San Michele, St. Peter and St. Mark.]
+
+From the earliest times there used to be a church dedicated to St.
+Michael, which stood within the _orto_, the garden named after the
+saint. The church was, however, removed in the thirteenth century and
+was replaced by an open _loggia_, which was used for a corn market and
+store. In the following century the open arches of the _loggia_ were
+built up, again making a church of the building, in which a venerated
+Madonna, for which Orcagna made the tabernacle, was preserved. The
+companies and merchant guilds of Florence undertook to present statues
+to decorate the external niches of the building. Besides Donatello,
+Ghiberti, Verrocchio, Gian Bologna and Nanni di Banco were employed;
+and there are also some admirable medallions by Luca della Robbia.
+Donatello made four statues--St. Peter, St. Mark, St. Louis and St.
+George. He was to have made St. Phillip as well, but the shoemakers
+who ordered the statue could not afford to pay Donatello's price and
+the work was entrusted to Nanni di Banco. Two only of Donatello's
+statues are left at Or San Michele, the St. Louis being now in Santa
+Croce, while the St. George has been placed in the Bargello. All these
+statues were put into niches of which the base is not more than eight
+feet from the ground, and being intended to be seen at a short
+distance are carved with greater attention to detail and finish than
+is the case with the prophets on the Campanile. St. Peter is probably
+the earliest in date, having been made, judging from stylistic
+grounds, between 1407 and 1412. This statue shows a doubt and
+hesitation which did not affect Donatello when making the little
+prophets for the Mandorla door. The head is commonplace and
+inexpressive; the pose is dull, and the drapery with its crimped edges
+ignores the right leg. There is, however, nothing blameworthy in the
+statue, but, on the other hand, there is nothing showing promise or
+deserving praise. Had it been made by one of the _macchinisti_ of the
+time it would have lived in decent obscurity without provoking
+comment. In fact the statue does not owe its appearance in critical
+discussions to its own merits, but to the later achievement of the
+sculptor. Thus only can one explain Bocchi's opinion that "living man
+could not display truer deportment than we find in the St. Peter."[30]
+One of the figures from the Cathedral facade now in the Louvre, an
+apostle or doctor of the Church, shows whence Donatello derived his
+prosy idea, though the St. Peter is treated in a less archaic manner.
+The St. Mark is much more successful: there is conviction as well as
+vigour and greater skill. Michael Angelo exclaimed that nobody could
+disbelieve the Gospel when preached by a saint whose countenance is
+honesty itself. The very drapery--_il prudente costume e
+religioso_--[31] was held to contribute to Michael Angelo's praise.
+The grave and kindly face, devout and holy,[32] together with a
+certain homeliness of attitude, give the St. Mark a character which
+would endear him to all. He would not inspire awe like the St. John or
+indifference like St. Peter. He is a very simple, lovable person whose
+rebuke would be gentle and whose counsel would be wise. In 1408 the
+_Linaiuoli_, the guild of linen-weavers, gave their order to select
+the marble, and in 1411 the commission was given to Donatello, having
+been previously given to Niccolo d'Arezzo, who himself became one of
+Donatello's guarantors. The work had to be finished within eighteen
+months, and the heavy statue was to be placed in the niche at the
+sculptor's own risk. The statement made by Vasari that Brunellesco
+co-operated on the St. Mark is not borne out by the official
+documents. It is interesting to note that the guild gave Donatello the
+height of the figure, leaving him to select the corresponding
+proportions. The statue was to be gilded and decorated.[33] A further
+commission was given to two stone-masons for the niche, which was to
+be copied from that of Ghiberti's St. Stephen. These niches have been
+a good deal altered in recent times, and the statues are in
+consequence less suited to their environment than was formerly the
+case. Judging from the plates in Lasinio's book, the accuracy of which
+has not been contested, it appears that the niches of St. Eligius and
+St. Mark have been made more shallow, while the crozier of the former
+and the key in St. Peter's hand are not shown at all, and must be
+modern restorations.
+
+[Footnote 30: Cinelli ed., p. 66.]
+
+[Footnote 31: Bocchi, 1765 ed., p. 128.]
+
+[Footnote 32: _Spira il volto divozione e Santita_, Cinelli, p. 66.]
+
+[Footnote 33: Gualandi, "Memorie," Series 4, p. 106.]
+
+       *       *       *       *       *
+
+[Sidenote: St. Louis.]
+
+The St. Louis is made of bronze. The reputation of this admirable
+figure has been prejudiced by a ridiculous bit of gossip seriously
+recorded by Vasari, to the effect that, having been reproached for
+making a clumsy figure, Donatello replied that he had done so with set
+purpose to mark the folly of the man who exchanged the crown for a
+friar's habit. Vasari had to enliven his biographies by anecdotes, and
+their authenticity was not always without reproach. In view of his
+immense services to the history of art one will gladly forgive these
+pleasantries; but it is deplorable when they are solemnly quoted as
+infallible. One author says: "... _impossibile a guardare quel goffo e
+disgraziato San Lodovico senza sentire una stretta al cuore_." This is
+preposterous. The statue has faults, but they do not spring from
+organic error. The Bishop is overweighted with his thick vestments,
+and his mitre is rather too broad for the head; the left hand,
+moreover, is big and Donatellesque. But the statue, now placed high
+above the great door of Santa Croce, is seen under most unfavourable
+conditions, and would look infinitely better in the low niche of Or
+San Michele. Its proportions would then appear less stumpy, and we
+would then be captivated by the beauty of the face. It has real
+"beauty"; the hackneyed and misused term can only be properly applied
+to Donatello's work in very rare cases, of which this is one. The face
+itself is taken from some model, which could be idealised to suit a
+definite conception, and in which the pure and symmetrical lines are
+harmonised with admirable feeling. Every feature is made to
+correspond, interrelated by some secret necessary to the art of
+portraiture. The broad brow and the calm eyes looking upwards are in
+relation with the delicately chiselled nose and mouth, while the right
+hand, which is outstretched in giving the blessing, is rendered with
+infinite sentiment and grace. St. Louis, in short, deserves high
+commendation, as, in spite of errors, it achieves something to which
+Donatello seldom aspired; and it has the further interest of being his
+earliest figure in bronze, a material in which some of his most
+renowned works were executed. The whole question of Donatello's share
+in the actual casting will be considered at a later stage. It will be
+enough to say at this point that the St. Louis, which was probably
+finished about 1425, was cast with the assistance of Michelozzo.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. GEORGE
+
+IN NICHE ON OR SAN MICHELE]
+
+
+[Sidenote: St. George.]
+
+The St. George is the most famous of Donatello's statues, and is
+generally called his masterpiece. The marble original has now been
+taken into the Museum, and a bronze cast replaces it at Or San
+Michele. The cause of this transfer is understood to be a fear that
+the statue would be ruined by exposure, although one would think that
+this would apply still more to the exquisite relief, which remains _in
+situ_, though unprotected by the niche. In the side-lighted Bargello,
+the St. George is crowded into a shallow niche (with plenty of highly
+correct detail) and is seen to the utmost disadvantage; but no
+incongruity of surroundings, no false relations of light can destroy
+the profound impression left by this statue, which was probably
+completed about 1416, in Donatello's thirtieth year. Vasari was
+enthusiastic in its praise. Bocchi wrote a whole book about it,[34] in
+which we might expect to find valuable information; but the interest
+of this ecstatic eulogy is limited. Bocchi gives no dates, facts or
+authorities; nothing to which modern students can turn for accurate or
+specific knowledge of Donatello. Cinelli says the St. George was held
+equal to the rarest sculpture of Rome,[35] and well it might be. The
+St. George was made for the Guild of Armourers; he is, of course,
+wearing armour, and the armour fits him, clothes him. It is not the
+clumsy inelastic stuff which must have prevented so many soldiers from
+moving a limb or mounting a horse. In this case the lithe and muscular
+frame is free and full of movement, quite unimpeded by the defensive
+plates of steel. He stands upright, his legs rather apart, and the
+shield in front of him, otherwise he is quite unarmed; the St. George
+in the niche is alert and watchful: in the bas-relief he manfully
+slays the dragon. The head is bare and the throat uncovered; the face
+is full of confidence and the pride of generous strength, but with no
+vanity or self-consciousness. Fearless simplicity is his chief
+attribute, though in itself simplicity is no title to greatness: with
+Donatello, Sophocles and Dante would be excluded from any category of
+greatness based on simplicity alone. St. George has that earnest and
+outspoken simplicity with which the mediaeval world invested its
+heroes; he springs from the chivalry of the early days of Christian
+martyrdom, the greatest period of Christian faith. Greek art had no
+crusader or knight-errant, and had to be content with Harmodius and
+Aristogeiton. Even the Perseus legend, which in so many ways reminds
+one of St. George, was far less appreciated as an incident by
+classical art than by the Renaissance; and even then not until patron
+and artist were growing tired of St. George. M. Reymond has pointed
+out the relation of Donatello's statue to its superb analogue, St.
+Theodore of Chartres Cathedral. "_C'est le souvenir de tout un monde
+qui disparait._"[36] Physically it may be so. The age of chivalry may
+be passed in so far that the prancing steed and captive Princess
+belong to remote times which may never recur. But St. George and St.
+Theodore were not merely born of legend and fairy tale; their spirit
+may survive in conditions which, although less romantic and
+picturesque, may still preserve intact the essential qualities of the
+soldier-saint of primitive times. The influence of the St. George upon
+contemporary art seems to have been small. The Mocenigo tomb, which
+has already been mentioned, has a figure on the sarcophagus obviously
+copied from the St. George; and elsewhere in this extremely curious
+example of plagiarism we find other figures suggested by Donatello's
+statues. The little figure in the Palazzo Pubblico at Pistoja is
+again an early bit of piracy. In the courtyard of the Palazzo
+Quaratesi in Florence, built by Brunellesco between 1425 and 1430, an
+early version of the head of St. George was placed in one of the
+circular panels above the pillars. It is without intrinsic importance,
+being probably a cast, but it shows how early the statue was
+appreciated. A more important cast is that of the bas-relief now in
+London, which has a special interest from having been taken before the
+original had suffered two or three rather grievous blows.[37]
+Verrocchio made a drawing of the St. George,[38] and Mantegna
+introduced a similar figure into his picture of St. James being led to
+execution.[39] But Donatello's influence cannot be measured by the
+effect of St. George. In this particular case his work did not
+challenge competition; its perfection was too consummate to be of
+service except to the copyist. In some ways it spoke the last word;
+closed an episode in the history of art--[Greek: eschatos tou idiou
+genous].
+
+[Footnote 34: "Eccelenza della Statua del San Giorgio di Donatello,"
+1571.]
+
+[Footnote 35: Bellezze, 1677, p. 67.]
+
+[Footnote 36: "La Sculpture Florentine," vol. ii. p. 91.]
+
+[Footnote 37: Victoria and Albert Museum, 7607, 1861.]
+
+[Footnote 38: Uffizzi, frame 49.]
+
+[Footnote 39: Eremitani, Padua, about 1448-50.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. GEORGE
+
+BARGELLO]
+
+
+[Sidenote: Donatello and Gothic Art.]
+
+The relation of St. George and other Italian works of this period,
+both in sculpture and painting, to the Gothic art of France cannot be
+ignored, although no adequate explanation has yet been given. St.
+George, the Baptists of the Campanile and in Rome, and the marble
+David are intensely Franco-Gothic, and precisely what one would expect
+to find in France. The technical and physical resemblance between the
+two schools may, of course, be a coincidence; it may be purely
+superficial. But St. Theodore might well take his place outside Or
+San Michele, while the St. George (in spite of the difference in date)
+would be in complete ethical harmony with the statues on the portals
+of Chartres. Even if they cannot be analysed, the phenomena must be
+stated. Donatello may have spontaneously returned to the principles
+which underlay the creation of the great statuary of France, the
+country of all others where a tremendous school had flourished. But
+what these fundamental principles were it is impossible to determine.
+It is true there had always been agencies at work which must have
+familiarised Italy with French thought and ideas. From the time of the
+dominant French influence in Sicily down to the Papal exile in
+France--which ended actually while Donatello was working on these
+statues, one portion or another of the two countries had been
+frequently brought into contact. The Cistercians, for instance, had
+been among the most persistent propagators of Gothic architecture in
+Italy, though nearly all their churches (of which the ground-plans are
+sometimes identical with those of French buildings) are situated in
+remote country districts of Italy, and being inaccessible are little
+known or studied nowadays. France, however, was herself full of
+Italian teachers and churchmen, who may have brought back Northern
+ideas of art, for they certainly left small traces of their influence
+on the French until later on; their presence, at any rate, records
+intercourse between the two countries. A concrete example of the
+relation between the two national arts is afforded by the fact that
+Michelozzo was the son of a Burgundian who settled in Florence.
+Michelozzo was some years younger than Donatello, and it is therefore
+quite out of the question to assume that the St. George could have
+been due to his influence: he was too young to give Donatello more
+than technical assistance. In this connection one must remember that
+French Gothic, though manifested in its architecture, was of deeper
+application, and did not confine its spirit to the statuary made for
+the tall elongated lines of its cathedrals. What we call Gothic
+pervaded everything, and was not solely based on physical forms.
+Indeed, whatever may be the debt of Italian sculpture to French
+influence, the Gothic architecture of Italy excluded some of the chief
+principles of the French builders. It was much more liberal and more
+fond of light and air. Speaking of the exaggerated type of Gothic
+architecture, in which everything is heightened and thinned, Renan
+asks what would have happened to Giotto if he had been told to paint
+his frescoes in churches from which flat spaces had entirely
+disappeared. "Once we have exhausted the grand idea of infinity which
+springs from its unity, we realise the shortcomings of this egoistic
+and jealous architecture, which only exists for itself and its own
+ends, _regnant dans le desert_."[40] The churches of Umbria and
+Tuscany were as frames in which space was provided for all the arts;
+where fresco and sculpture could be welcomed with ample scope for
+their free and unencumbered display. Donatello was never hampered or
+crowded by the architecture of Florence; he was never obliged, like
+his predecessors in Picardy and Champagne, to accommodate the gesture
+and attitude of his statue to stereotyped positions dictated by the
+architect. His opportunity was proportionately greater, and it only
+serves to enhance our admiration for the French sculptors. In spite of
+difficulties not of their own making, they were able to create, with a
+coarser material and in a less favourable climate, what was perhaps
+the highest achievement ever attained by monumental sculpture. The
+Italians soon came to distrust Gothic architecture. It was never quite
+indigenous, and they were afraid of this "German" transalpine art.
+Vasari attacks "_Questa maledizione di fabbriche_," with their
+"_tabernacolini l'un sopra l'altro, ... che hanno ammorbato il
+mondo_."[41] One would expect the denunciation of Milizia to be still
+more severe. But he admits that "_fra tante monstruosita
+l'architettura gottica ha alcune bellezze_."[42] Elsewhere mentioning
+the architect of the Florentine Cathedral (while regretting how long
+the _corrotto gusto_ survived), he says, "_In questo architetto si
+vede qualche barlume di buona architettura, come di pittura in Cimabue
+suo contemporaneo_."[43] He detects some glimmer of good architecture.
+Sir Joshua Reynolds was cautious: "Under the rudeness of Gothic
+essays, the artist will find original, rational, and even sublime
+inventions."[44] It should be remembered that the word _Tedesca_, as
+applied to Gothic art, meant more than German, and could be almost
+translated by Northern. Italians from the lakes and the Valtellina
+were called _Tedeschi_, and Italy herself was inhabited by different
+peoples who were constantly at war, and who did not always understand
+each other's dialects. Dante said the number of variations was
+countless.[45] Alberti, who lived north of the Apennines during his
+boyhood, took lessons in Tuscan before returning to Florence. The word
+_Forestiere_, now meaning foreigner, was applied in those days to
+people living outside the province, sometimes even to those living
+outside the town. Thus we have a record of the cost of making a
+provisional altar to display Donatello's work at Padua--"_per
+demonstrar el desegno ai forestieri_."[46] No final definition of
+Gothic art, of the _maniera tedesca_ is possible. Some of its
+component parts have been enumerated: rigidity, grotesque, naturalism,
+and so forth; but the definition is incomplete, cataloguing the
+effects without analysing their cause. Whether Donatello was
+influenced by the ultimate cause or not, he certainly assimilated some
+of the effects. The most obvious example of the Gothic feeling which
+permeated this child of the Renaissance, is his naturalistic
+portrait-statues. Donatello found the form, some passing face or
+figure in the street, and rapidly impressed it with his ideal.
+Raffaelle found his ideal, and waited for the bodily form wherewith to
+clothe it. "In the absence of good judges and handsome women"--that is
+to say, models, he paused, as he said in one of his letters to
+Castiglione. One feels instinctively that with his Gothic bias
+Donatello would not have minded. He did not ask for applause, and at
+the period of St. George classical ideas had not introduced the
+professional artist's model. Life was still adequate, and the only
+model was the subject in hand. The increasing discovery of classical
+statuary and learning made the later sculptors distrust their own
+interpretation of the bodily form, which varied from the primitive
+examples. Thus they lost conviction, believing the ideal of the
+classicals to surpass the real of their own day. The result was
+Bandinelli and Montorsoli, whose world was inhabited by pompous
+fictions. They neither attained the high character of the great
+classical artists nor the single-minded purpose of Donatello. Their
+ideal was based on the unrealities of the Baroque.
+
+[Footnote 40: "Melanges d'Histoire," p. 248.]
+
+[Footnote 41: Introduction, i. 122.]
+
+[Footnote 42: "Vita de' Architetti," 53.]
+
+[Footnote 43: _Ibid._ 151.]
+
+[Footnote 44: "Discourses," 1778, p. 237.]
+
+[Footnote 45: "Qua propter si primas et secundarias et subsecundarias
+vulgaris Ytalie variationes calculare velimus, in hoc minimo mundi
+angulo, non solum ad millenam loquele variationem venire contigerit,
+sed etiam at magis ultra."--De Vulg. Eloq. Lib., I., cap. x. sec. 8.]
+
+[Footnote 46: 23, iv. 1448.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ANNUNCIATION
+
+SANTA CROCE, FLORENCE]
+
+
+[Sidenote: The Crucifix and Annunciation.]
+
+Donatello loved to characterise: in one respect only did he typify.
+Where there was most character there was often least beauty. This is
+illustrated by two works in Santa Croce, the Christ on the Cross and
+the Annunciation. They differ in date, material, and conception, but
+may be considered together. As to the exact date of the former many
+opinions have been expressed. Vasari places it about 1401, Manetti
+about 1405, Schmarsow 1410, Cavalucci 1416, Bode 1431, Marcel Reymond
+1430-40. It is quite obvious that the crucifix is the product of
+rather a timid and uncertain technique, and does not show the verve
+and decision which Donatello acquired so soon. It is made of olive
+wood, and is covered by a shiny brown paint which may conceal a good
+deal of detailed carving. The work is sober and decorous, and not
+marred by any breach of good taste. It is in no sense remarkable, and
+has nothing special to connect it with Donatello. Its notoriety
+springs from a long and rather inconsequent story, which says that,
+having made his Christ in rivalry with Brunellesco, who was occupied
+on a similar work, Donatello was so much saddened at the superiority
+of the other crucifix that he exclaimed: "You make the Christ while I
+can only make a peasant: _a te e conceduto fare i Cristi, ed a me i
+contadini_".[47] Brunellesco's crucifix,[48] now hidden behind a
+portentous array of candles, is even less attractive than that in
+Santa Croce. Brunellesco was the aristocrat, the builder of haughty
+palaces for haughty men, and may have really thought his cold and
+correct idea superior to Donatello's peasant. To have thought of
+taking a contadino for his type (disappointing as it was to Donatello)
+was in itself a suggestive and far-reaching departure from the earlier
+treatment of the subject. In the fourteenth century Christ on the
+Cross had been treated with more reserve and in a less naturalistic
+fashion. The traditional idea disappeared after these two Christs,
+which are among the earliest of their kind, afterwards produced all
+over Italy in such numbers. As time went on the figure of Christ
+received more emphasis, until it became the vehicle for exhibiting
+those painful aspects of death from which no divine message of
+resurrection could be inferred. The big crucifix ascribed to
+Michelozzo shows how far exaggeration could be carried.[49] The opened
+mouth, the piteous expression, the clots of blood falling from the
+wounds, combine to make a figure which is repellent, and which lost
+all justification, from the fact that this tortured dying man shows no
+conviction of divine life to come. Donatello's bronze crucifix at
+Padua, made years afterwards, showed that he never forgot that a dying
+Christ must retain to the last the impress of power and superhuman
+origin. In the conflict of drama and beauty, Donatello allowed drama
+to gain the upper hand. But the Annunciation would suggest a different
+answer, for here we find what is clearly a sustained effort to secure
+beauty. The Annunciation is a large relief, in which the angel and the
+Virgin are placed within an elaborately carved frame, while on the
+cornice above there are six children holding garlands. Its date has
+been the subject of even more discussion than that of the
+Crucifix,[50] and the conflict of opinion has been so keen that the
+intrinsic merits of this remarkable work have been sometimes
+overlooked. The date is, of course, important for the classification
+of Donatello's work, but it is a pity when the attention of the critic
+is monopolised by minor problems. Milizia, when in doubt about the
+date of Alberti's birth, did not go too far in saying "_disgrazia
+grande per chi si trova la sua felicita nelle date_." The Annunciation
+was erected by the Cavalcanti family, and the old theory that it was
+ordered to commemorate their share in the victory over Pisa in 1406
+has been upheld by the presence on the lower frieze of a winged
+wreath, an emblem of victory. The object of the donor is conjectural:
+we know nothing about it; and the association of wings and a wreath is
+found elsewhere in Donatello's work.[51] Moreover, the rich
+Renaissance decoration is quite sufficient to demonstrate that the
+work must be much later than 1406, though whether immediately before
+or after the second Roman visit must be founded on hypothesis. The
+precise date of the particular decoration is too nebular to permit any
+exact statement on the subject. There was never any line of
+demarcation between one school and another. One can find Gothic ideas
+long after the Renaissance had established its principles,[52] while
+the period of transition lasted so long, especially in the smaller
+towns, that the old and new schools often flourished concurrently.
+This relief is made of Pietra Serena, of a delicate bluish tint, very
+charming to work in, according to Cellini, though without the
+durability needed for statues placed out of doors.[53] It has been
+enriched with a most lavish hand and there is no part of the work
+without sumptuous decoration. The base, with the central wreath, is
+flanked by the Cavalcanti arms: above them rise two rectangular shafts
+enclosing the relief on either side. These columns are carved with a
+fretwork of leaves, and their capitals are formed of strongly
+chiselled masks of a classical type, like those on the Or San Michele
+niche. Above the shafts comes the plinth, which has a peculiar egg and
+dart moulding, in its way ugly, and finally the whole thing is crowned
+with a bow-shaped arch, upon which the six terra cotta _Putti_ are
+placed, two at either extremity and the other pair lying along the
+curved space in the centre;[54] the panelled background and the throne
+are covered with arabesques. But this intricate wealth of decoration
+does not distract attention from the main figures. The Virgin has just
+risen from the chair, part of her dress still resting on the seat. Her
+face and feet turn in different directions, thus giving a dualism to
+the movement, an impression of surprise which is in itself a _tour de
+force_. But there is nothing bizarre or far-fetched, and the general
+idea one receives is that we have a momentary vision of the scene: we
+intercept the message which is well rendered by the pose of the
+angel, while its reception is acknowledged by the startled gesture of
+the Virgin. "_E stupendo l'artifizio._"[55] The scheme is what one
+would expect from Luca della Robbia. Nothing of the kind reappears in
+Donatello's work, and the attainment of beauty as such is also beyond
+the sphere of his usual ambition. Indeed, so widely does the
+Annunciation differ from our notions about the artist, that it has
+been recently suggested that Donatello was assisted in the work: while
+some people doubt the attribution altogether. The idea that Michelozzo
+should have done some of the actual carving may be well or ill
+founded; in any case, no tangible argument has been advanced to
+support the idea. Donatello's authorship is vouched for by Albertini,
+who wrote long before Vasari, and whose notice about the works of art
+in Florence is of great value.[56] But we have no standard of
+comparison, and Donatello himself had to strike out a new line for his
+new theme. The internal evidence in favour of Donatello must therefore
+be sought in the accessories; and in architectural details which occur
+elsewhere,[57] such as the big and somewhat incontinent hands, the
+typical _putti_, and the rather heavy drapery. To this we may add the
+authority of early tradition, the originality and strength of
+treatment, and finally the practical impossibility of suggesting any
+alternative sculptor.
+
+[Footnote 47: Vasari, iii. 247.]
+
+[Footnote 48: In the Capella Gondi, Santa Maria Novella.]
+
+[Footnote 49: In San Giorgio Maggiore, Venice.]
+
+[Footnote 50: Borghini, Donatello's earliest work. Semper, 1406.
+Schmarsow, 1412. Bode, before the second journey to Rome in 1433.
+Reymond, 1435.]
+
+[Footnote 51: _E.g._, on the Or San Michele niche, round the Trinity.
+Verrocchio also used it on his sketch model for the Forteguerri tomb,
+Victoria and Albert Museum, No. 7599, 1861.]
+
+[Footnote 52: _E.g._, Pacifico tomb about 1438 and the Francesco
+Foscari tomb about 1457, both in the Frari.]
+
+[Footnote 53: "Due Trattati di Benvenuto Cellini," ed. Carlo Milanesi,
+1857. Ch. 6 on marble.]
+
+[Footnote 54: _Cf._ _Putti_ on the Roman Tabernacle.]
+
+[Footnote 55: Bocchi, p. 316.]
+
+[Footnote 56: "Memoriale di molte statue e pitture della citta di
+Firenze," 1510.]
+
+[Footnote 57: Or San Michele niche, San Lorenzo Evangelists.]
+
+       *       *       *       *       *
+
+[Sidenote: Martelli, David and Donatello's Technique.]
+
+Tradition says that Ruberto Martelli was the earliest of Donatello's
+patrons. So far as we know, there were two Rubertos: the elder was
+seventy-three at the time of Donatello's birth, and must therefore
+have been a nonagenarian before his patronage could be effectively
+exercised; the other was twenty-two years younger than the sculptor,
+whom he could not have helped as a young man. But there is no question
+about the interest shown by the family in Donatello's work. The David
+and the St. John, together with a portrait-bust and the coat of arms,
+still show their practical appreciation of his work and Donatello's
+gratitude to the family. Vasari is the first to mention these works,
+and it must be remarked that Albertini, who paid great attention to
+Donatello, mentions nothing but antique sculpture in the Martelli
+palace. The David and the St. John Baptist are both in marble, and
+were probably made between 1415 and 1425. The David, which was always
+prized by the family, is shown in the background of Bronzino's
+portrait of Ugolino Martelli.[58] It was then standing in the
+courtyard of the palace, but was taken indoors in 1802 _per
+intemperias_. The statue is not altogether a success. Its _allure_ is
+good: but the anatomy is feminine, the type is soft and yielding; the
+attitude is not spontaneous; and the head of Goliath, tucked
+uncomfortable between the feet, is poor. There is a bronze statuette
+in Berlin which has been considered a study for this figure, though it
+is most unlikely that Donatello himself would have taken the trouble
+to make bronze versions of his preparatory studies. The work, however,
+is in all probability by Donatello, and most of the faults in the
+marble statue being corrected, it may be later than the Martelli
+figure, from which it also varies in several particulars. The
+statuette is full of life and vigour, and the David is a sturdy
+shepherd-boy who might well engage a lion or a bear. In one respect
+the Martelli figure is of great importance. It is unfinished--the only
+unfinished marble we have of the master, and it gives an insight into
+the methods he employed. It is fortunate that we have some means of
+understanding how Donatello gained his ends, although this statue does
+not show him at his best; indeed it may have been abandoned because it
+did not reach his expectations. However, we have nothing else to judge
+by. The first criticism suggested by the David is that Donatello
+betrays the great effort it cost him. Like the unfinished Faith by
+Mino da Fiesole,[59] it is laboured and experimental. They set to work
+hoping that later stages would enable them to rectify any error or
+miscalculation, but both found they had gone too far. The material
+would permit no such thing, and with all their skill one sees that the
+blocks of marble did not unfold the statues which lay hidden within.
+As hewers of stone, Donatello and Mino cannot compare with Michael
+Angelo. Jacopo della Quercia alone had something of his genius of
+material. Nobody left more "unfinished" work than Michael Angelo. The
+Victory, the bust of Brutus, the Madonna and Child,[60] to mention a
+few out of many, show clearly what his system was. In the statue of
+Victory we see the three stages of development or completion. The
+statue is _in_ the stone, grows out of it. The marble seems to be as
+soft as soap, and Michael Angelo simply peels off successive strata,
+apparently extracting a statue without the smallest effort. The three
+grades are respectively shown in the rough-hewn head of the crouching
+figure, then in the head of the triumphant youth above him, finally in
+his completed torso. But each stage is finished relatively. Completion
+is relative to distance; the Brutus is finished or unfinished
+according to our standpoint, physical or aesthetic. Moreover, the
+treatment is not partial or piecemeal; the statue was in the marble
+from the beginning, and is an entity from its initial stage: in many
+ways each stage is equally fine. The paradox of Michael Angelo's
+technique is that his _abozzo_ is really a finished study. The Victory
+also shows how the deep folds of drapery are bored preparatory to
+being carved, in order that the chisel might meet less resistance in
+the narrow spaces; this is also the case in the Martelli David. As a
+technical adjunct boring was very useful, but only as a process. When
+employed as a mechanical device to represent the hair of the head, we
+get the Roman Empress disguised as a sponge or a honeycomb. These
+tricks reveal much more than pure technicalities of art.
+Gainsborough's habit of using paint brushes four or five feet long
+throws a flood of light upon theory and practice alike. There is,
+however, another work, possibly by Donatello himself, which gives no
+insight into anything but technical methods, but which is none the
+less important. This is the large Madonna and Child surrounded by
+angels, belonging to Signor Bardini of Florence. It is unhappily a
+complete wreck, five heads, including the Child's, having been broken
+away. It is a relief in stucco, modelled, not cast, and is closely
+allied with a group of Madonnas to which reference is made
+hereafter.[61] We can see precisely how this relief was made. The
+stucco adheres to a strong canvas, which in its turn is nailed on to a
+wooden panel. The background, also much injured, is decorated with
+mosaic and geometrical patterns of glass, now dim and opaque with age.
+The relief must have been of signal merit. Complete it would have
+rivalled the polychrome Madonna of the Louvre: as a fragment it is
+quite sufficient to prove that the Piot Madonna, in the same museum,
+is not authentic. One more trick of the sculptor remains to be
+noticed. Vasari and Bocchi say that Donatello, recognising the value
+of his work, grouped his figures so that the limbs and drapery should
+offer few protruding angles, in order to minimise the danger of
+fracture. It was his insurance against the fragility of the stone:
+when working in bronze such precautions would be less necessary. It is
+quite true that in the larger figures there is a marked restraint in
+this respect, while in his bas-reliefs, where the danger was less, the
+tendency to raise the arms above the head is often exaggerated. But
+too much stress should not be laid upon this explanation: it is hard
+to believe that Donatello would have let so crucial a matter be
+governed by such a consideration. Speaking generally, Donatello was
+neither more nor less restrictive than his Florentine contemporaries,
+and it was only at a later period that the isolated statue received
+perfect freedom, such as that in the Cellini Perseus, or the Mercury
+by Gian Bologna, or Bernini's work in marble.
+
+[Footnote 58: In the Berlin Gallery.]
+
+[Footnote 59: Berlin Museum.]
+
+[Footnote 60: All three in Bargello.]
+
+[Footnote 61: See p. 185.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SAN GIOVANNINO
+
+PALAZZO MARTELLI, FLORENCE]
+
+
+[Illustration: _Alinari_
+
+ST. JOHN BAPTIST, MARBLE
+
+BARGELLO]
+
+
+[Sidenote: Early Figures of St. John.]
+
+Another important statue in the Martelli palace is that of St. John
+the Baptist. Besides being the earliest patron of Florence, St. John
+was the titular saint of every Baptistery in the land. This accounts
+for the frequency with which we find his statues and scenes from his
+life, particularly in Tuscany. With Donatello he was to some extent a
+speciality, and we can almost trace the sculptor's evolution in his
+presentment of the Baptist, beginning with the chivalrous figure on
+the Campanile and ending with the haggard ascetic of Venice. We have
+St. John as a child in the Bargello, as a boy in Rome, as a stripling
+in the Martelli palace. On the bell-tower he is grown up, in the Frari
+he is growing older, and at Siena he is shown as old as Biblical
+history would permit. The St. John in the Casa Martelli, _oltra tutti
+singolare_,[62] was so highly prized that it was made an heirloom,
+with penalties for such members of the family who disposed of it. This
+St. John is a link between the Giovannino and the mature prophet. He
+is, as it were, dazed, and sets forth upon his errand with
+open-mouthed wonder. He has a strain of melancholy, and seems rather
+weakly and hesitating. But there is no attempt after emaciation. The
+limbs are well made, and as sturdy as one would expect, in view of the
+unformed lines of the model: the hands also are good. As regards the
+face, one notices that the nose and mouth are rather crooked, and that
+the eyes diverge: not, indeed, that these defects are really
+displeasing, since they are what one sometimes finds in living youth.
+Another Baptist which has hitherto escaped attention is the small
+marble figure, about four feet high, which stands in a niche over the
+sacristy door of San Giovanni Fiorentino in Rome. It was placed there
+a few years ago, when, owing to the prevalent mania of rebuilding, it
+became necessary to demolish the little oratory on the Corso which
+belonged to the Mother Church close by. The statue was scarcely seen
+in its old home: how it got there is unknown. The church itself was
+not founded by the Florentines until after Donatello's death, and this
+statue looks as if it had been made before Donatello's visit to Rome
+in 1433. But its authenticity cannot be questioned. We have the same
+type as in the Martelli Baptist, with something of the Franco-Gothic
+sentiment. This St. John is rather younger, a Giovannino, his thin
+lithe figure draped with the camel-hair tunic which ends above the
+knees. Hanging over the left shoulder is a long piece of drapery,
+falling to the ground behind him, and giving support to the marble,
+just as in the other Baptist. We have the open mouth, the curly hair
+and the broad nostrils: in every way it is a typical work of the
+sculptor. There are two other early Baptists, both in the Bargello.
+The little relief in Pietra Serena[63] is a delightful rendering of
+gentle boyhood. The modelling shows Donatello's masterful treatment of
+the soft flesh and the tender muscles beneath it. Everything is
+subordinated to his object of showing real boyhood with all the charm
+of its imperfections. The head is shown in profile, thus enabling us
+to judge the precise nature of all the features, each one of which
+bears the imprint of callow _morbidezza_. Even the hair has the
+dainty qualities of childhood: it has the texture of silk. It is a
+striking contrast to the life-sized Baptist who has just reached
+manhood. We see a St. John walking out into the desert. He looks
+downward to the scroll in his hand, trudging forward with a hesitating
+gait,--but only hesitating because he is not sure of his foothold, so
+deeply is he absorbed in reading. It is a triumph of concentration.
+Donatello has enlisted every agency that could intensify the oblivion
+of the world around him. It is from this aloofness that the figure
+leaves a detached and inhospitable impression. One feels instinctively
+that this St. John would be friendless, for he has nothing to offer,
+and asks no sympathy. There is no room for anybody else in his career,
+and nobody can share his labours or mitigate his privations. In short,
+there is no link between him and the spectator. Unless we interpret
+the statue in this manner, it loses all interest--it never had any
+beauty--and the St. John becomes a tiresome person with a pedantic and
+ill-balanced mind. But Donatello can only have meant to teach the
+lesson of concentrated unity of purpose, which is the chief if not the
+only characteristic of this St. John. Technically the work is
+admirable. The singular care with which the limbs are modelled,
+especially the feet and hands, is noteworthy: while the muscular
+system, the prominent spinal cord, and the pectoral bones are rendered
+with an exactitude which leads one to suppose Donatello reproduced all
+the peculiarities of his model. It has been said that Michelozzo
+helped Donatello on the ground that certain details reappear on the
+Aragazzi monument. The argument is speculative, and would perhaps gain
+by being inverted,--by pointing out that when making the Aragazzi
+figures, Michelozzo, the lesser man, was influenced by Donatello, the
+greater.
+
+[Footnote 62: Bocchi, 23. Like the David, it used to live out of
+doors, until in 1755 Nicolaus Martelli "in aedes suas transtulit." Its
+base dates from 1794.]
+
+[Footnote 63: It was acquired for nine zechins in 1784. Madame Andre
+has a version in stucco, on rather a larger scale. A marble version
+from the Strawberry Hill Collection now belongs to Sir Charles Dilke,
+M.P.]
+
+       *       *       *       *       *
+
+[Illustration: CLAY SKETCH OF CRUCIFIXION AND FLAGELLATION
+
+LONDON]
+
+
+[Sidenote: Donatello as Architect and Painter.]
+
+Fully as Donatello realised the unity of the arts, we cannot claim him
+as a universal genius, like Leonardo or Michael Angelo, who combined
+the art of literature with plastic, pictorial and architectural
+distinction. But at the same time Donatello did not confine himself to
+sculpture. He was a member of the Guild of St. Luke: he designed a
+stained-glass window for the Cathedral: his opinion on building the
+Cupola was constantly invited, and he made a number of marble works,
+such as niches, fountains, galleries and tombs, into which the pursuit
+of architecture and construction was bound to enter. Moreover, his
+backgrounds were usually suggested by architectural motives. Donatello
+joined the painters' guild of St. Luke in 1412, and in a document of
+this year he is called _Pictor_.[64] There is a great variety in the
+names and qualifications given to artists during the fifteenth
+century. In the first edition of the Lives, Vasari calls Ghiberti a
+painter. Pisano, the medallist, signed himself Pictor. _Lastrajuolo_,
+or stone-fitter, is applied to Nanni di Banco.[65] Giovanni Nani was
+called _Tagliapietra_,[66] Donatello is also called _Marmoraio_,
+_picchiapietre_,[67] and woodcarver.[68] In the commission from the
+Orvieto Cathedral for a bronze Baptist he is comprehensively described
+as "_intagliatorem figurarum, magistrum lapidum atque intagliatorem
+figurarum in ligno et eximium magistrum omnium trajectorum_."[69]
+Finally, like Ciuffagni,[70] he is called _aurifex_, goldsmith.[71]
+Cellini mentions Donatello's success in painting,[72] and Gauricus,
+who wrote early in the sixteenth century, says that the favourite
+maxim inculcated by Donatello to his pupils was "_designate_"--"Draw:
+that is the whole foundation of sculpture."[73] The only pictorial
+work that has survived is the great stained-glass Coronation of the
+Virgin in the Duomo. Ghiberti submitted a competitive cartoon and the
+Domopera had to settle which was "_pulchrius et honorabilius pro
+ecclesia_." Donatello's design was accepted,[74] and the actual
+glazing was carried out by Bernardo Francesco in eighteen months.[75]
+The background is a plain blue sky, and the two great figures are the
+centre of a warm and harmonious composition. The window stands well
+among its fellows as regards colour and design, but does not help us
+to solve difficult problems connected with Donatello's drawings.
+Numbers have been attributed to him on insufficient foundation.[76]
+The fact is that, notwithstanding the explicit statements of Borghini
+and Vasari that Donatello and Michael Angelo were comparable in
+draughtsmanship, we have no authenticated work through which to make
+our inductions. A large and important scene of the Flagellation in the
+Uffizzi,[77] placed within a complicated architectural framework, and
+painted in green wash, has some later Renaissance features, but
+recalls Donatello's compositions. In the same collection are two
+extremely curious pen-and-ink drawings which give variants of
+Donatello's tomb of John XXIII. in the Baptistery. The first of them
+(No. 660) shows the Pope in his tiara, whereas on the tomb this symbol
+of the Papacy occupies a subordinate place. The Charity below carries
+children, another variant from the tomb itself. The second study (No.
+661) gives the effigy of a bareheaded knight in full armour lying to
+the left, and the basal figures also differ from those on the actual
+tomb. These drawings are certainly of the fifteenth century, and even
+if not directly traceable to Donatello himself, are important from
+their relation to the great tomb of the Pope, for which Donatello was
+responsible. But we have no right to say that even these are
+Donatello's own work. In fact, drawings on paper by Donatello would
+seem inherently improbable. Although he almost drew in marble when
+working in _stiacciato_, the lowest kind of relief, he was essentially
+a modeller, rather than a draughtsman. Leonardo was just the reverse;
+Michael Angelo was both, but with him sculpture was _the_ art.
+Donatello had small sense of surface or silhouette, and we would not
+expect him to commit his ideas to paper, just as Nollekens,[78] who
+drew so badly that he finally gave up drawing, and limited himself to
+modelling instead--turning the clay round and round and observing it
+from different aspects, thus employing a tactile in place of a
+pictorial medium. Canova also trusted chiefly to the plastic sense to
+create the form. But Donatello must nevertheless have used pen and ink
+to sketch the tombs, the galleries, the Roman tabernacle, and similar
+works. It is unfortunate that none of his studies can be identified.
+There is, however, one genuine sketch by Donatello, but it is a sketch
+in clay. The London Panel[79] was made late in life, when Donatello
+left a considerable share to his assistants. It is therefore a
+valuable document, showing Donatello's system as regards his own
+preliminary studies and the amount of finishing he would leave to
+pupils. We see his astonishing plastic facility, and the ease with
+which he could improvise by a few curves, depressions and prominences
+so complex a theme as the Flagellation, or Christ on the Cross. It
+is a marvel of dexterity.
+
+[Footnote 64: Domopera archives, 12, viii., 1412.]
+
+[Footnote 65: _Ibid._, 31, xii., 1407.]
+
+[Footnote 66: Padua, 3, iv., 1443.]
+
+[Footnote 67: When working at Pisa in 1427. See Centofanti, p. 4.]
+
+[Footnote 68: Commission for bronze Baptist for Ancona, 1422.]
+
+[Footnote 69: Contract in Orvieto archives, 10, ii., 1423.]
+
+[Footnote 70: Domopera, 2, ix., 1429.]
+
+[Footnote 71: _Ibid._ 18, iii., 1426.]
+
+[Footnote 72: "Due Trattati," ch. xii.]
+
+[Footnote 73: Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.]
+
+[Footnote 74: April 1434.]
+
+[Footnote 75: See _American Journal of Arch._, June 1900.]
+
+[Footnote 76: The so-called St. George in the Royal Library at Windsor
+has been determined by Mr. R. Holmes to be Perugino's study for the
+St. Michael in the National Gallery triptych. In the Uffizzi several
+pen-and-ink drawings are attributed to Donatello. The four eagles, the
+group of three peasants, the two figures seen from behind (Frame 5,
+No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript
+studies in which no specific sign of Donatello appears. The five
+winged _Putti_ (Frame 7, No. 40 f.) and the two studies of the Madonna
+(Frame 7, No. 38 f.) are more Donatellesque, but they show the
+niggling touch of some draughtsman who tried to make a sketch by mere
+indications with his pen. There is also a study in brown wash of the
+Baptistery Magdalen: probably made from, and not for, the statue. The
+Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle
+Collections) of the three Maries at the Tomb, or perhaps a fragment of
+a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt
+composition, made with very strong lines. It may be noted that the
+eyes are roughly suggested by circles, a mannerism which recurs in
+several drawings ascribed to Donatello. This was also a trick of
+Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.). In the
+British Museum there is an Apostle holding a book (No. 1860, 6. 13.
+31), with a Donatellesque hand and forearm; also a Lamentation over
+the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings,
+but the positive evidence of Donatello's authorship is _nil_. Mr.
+Gathorne Hardy's drawing, which has been ascribed to Donatello, is
+really by Mantegna, a capital study for one of the frescoes in the
+Eremitani.]
+
+[Footnote 77: Uffizzi, Frame 6, No. 6347 f.]
+
+[Footnote 78: See Life by J.T. Smith, 1828.]
+
+[Footnote 79: Victoria and Albert Museum, No. 7619, 1861. This sketch,
+which appears to have been made for the Forzori family, has been
+mistaken for a study for the San Lorenzo pulpit.]
+
+[Illustration: _Alinari_
+
+NICHE OF OR SAN MICHELE
+
+THE GROUP BY VERROCCHIO]
+
+Sculpture relies upon the contour, architecture upon the line. The
+distinction is vital, and were it not for the number and importance of
+the exceptions, from Michael Angelo down to Alfred Stevens, one would
+think that the sculptor-architect would be an anomaly. In describing
+the pursuits of Donatello and Brunellesco during their first visit to
+Rome, Manetti says that the former was engrossed by his plastic
+researches, "_senza mai aprire gli occhi alla architettura_." It is
+difficult to believe that Donatello had no eyes for architecture.
+There are several reasons to show that later on he gave some attention
+to its study. Like the Roman Tabernacle, the Niche on Or San
+Michele[80] is without any Gothic details. Albertini mentions
+Donatello as its sole author, but it is probable that Michelozzo, who
+helped on the statue of St. Louis, was also associated with its niche.
+It is a notable work, designed without much regard to harmony between
+various orders of architecture, but making a very rich and pleasing
+whole. It is decorated with some admirable reliefs. On the base are
+winged _putti_ carrying a wreath; in the spandrils above the arch are
+two more. The upper frieze has also winged cherubs' heads, six of them
+with swags of fruit and foliage, all of exceptional charm and
+vivacity. The motive of wings recurs in the large triangular space at
+the top; flanking the magnificent Trinity, three grave and majestic
+heads, which though united are kept distinct, and though similar in
+type are full of individual character. This little relief, placed
+rather high, and discountenanced by the bronze group below, is a
+memorable achievement of the early fifteenth century and heralds the
+advent of the power and solemnity, the _Terribilita_ of Michael
+Angelo. Donatello's aptitude for architectural setting is also
+illustrated by the choristers' galleries in the Cathedral and San
+Lorenzo. The former must be dealt with in detail when considering
+Donatello's treatment of childhood. As an architectural work it shows
+how the sculptor employed decorative adjuncts such as mosaic and
+majolica[81] to set off the white marble; he also added deep maroon
+slabs of porphyry and bronze heads, thus combining various arts and
+materials. Having no sculpture, the Cantoria of San Lorenzo is perhaps
+more important in this connection, as it is purely constructive, while
+its condition is intact: the Cathedral gallery having been rebuilt on
+rather conjectural lines. In San Lorenzo we find the same ideas and
+peculiarities, such as the odd egg and dart moulding which reappears
+on the Annunciation. The colour effects are obtained by porphyry and
+inlaid marbles. But we see how much Donatello trusted to sculpture,
+and how indifferently he fared without it. This gallery does not
+retain one's attention. There is a stiffness about it, almost a
+monotony, and it looks more like the fragment of a balcony than a
+_Cantoria_, for there is no marked terminal motive to complete and
+enclose it at either end. Two gateways have been ascribed to
+Donatello, but there is nothing either in their architecture or the
+treatment of their heraldic decoration, which is distinctive of the
+sculptor.[82] There can be no doubt that Donatello was employed as
+architect by the Chapter of Sant' Antonio at Padua,[83] and his love
+of buildings is constantly shown in the background of his reliefs. But
+the strongest testimony to his architectural skill is derived from the
+fact that he was commissioned in 1416 to make a model for the then
+unfinished cupola of the Cathedral at Florence. Brunellesco and Nanni
+di Banco also received similar orders. Brunellesco alone understood
+the immense difficulty of the task, and in the next year he announced
+his return to Rome for further research. In 1418 the sum of two
+hundred gold florins was offered for the best model, and in 1419
+Ghiberti, Nanni di Banco, Donatello and Brunellesco all received
+payments for models. Donatello's was made of brick. Ultimately the
+work was entrusted to Brunellesco, who overcame the ignorance and
+intrigues which he encountered from all sides, his two staunch friends
+being Donatello and Luca della Robbia. As to the nature of Donatello's
+models we know nothing; it is, however, clear that his opinion was at
+one time considered among the best available on a problem which
+required knowledge of engineering. As a military engineer Donatello
+was a failure. He was sent in 1429 with other artists to construct a
+huge dam outside the besieged town of Lucca, in order to flood or
+isolate the city. The amateur and _dilettante_ of the Renaissance
+found a rare opportunity in warfare; and this passion for war and its
+preparations occurs frequently among these early artists. Leonardo
+designed scores of military engines. Francesco di Giorgio has left a
+whole bookful of such sketches, in one of which he anticipates the
+torpedo-boat.[84] So, too, Michael Angelo took his share in erecting
+fortifications, though he did not fritter away so much time on
+experiments as some of his contemporaries. Donatello and his
+colleagues did not even leave us plans to compensate for their
+ignominious failure. One is struck by the confidence of these
+Renaissance people, not only in art but in every walk of life. They
+were so sure of success, that failure came to be regarded as
+surprising, and very unprofessional. Michael Angelo had no conception
+of possible failure. He embarked upon the colossal statue of the Pope
+when quite inexperienced in casting; he was the first to taunt
+Leonardo on his failure to make the equestrian statue. When somebody
+failed, the work was handed over to another man, who was expected to
+succeed. Thus Ciuffagni had to abandon an unpromising statue, _quod
+male et inepte ipsam laboravit_,[85] and the David of Michael Angelo
+was made from a block of marble upon which Agostino di Duccio had
+already made fruitless attempts.
+
+[Footnote 80: The niche was completed about 1424-5. There is a drawing
+of it in Vettorio Ghiberti's Note-book, p. 70. Landucci, in his
+"Diario Fiorentino," says that Verrocchio's group was placed in it on
+June 21, 1483.]
+
+[Footnote 81: _Cf._ Payments to Andrea Moscatello, for painted and
+glazed terra-cotta for the Paduan altar. May 1449.]
+
+[Footnote 82: From the Residenza dell' arte degli Albergatori, and
+that of the Rigattieri of Florence, figured on plates xii. and xv. of
+Carocci's "Ricordi del Mercato Vecchio," 1887.]
+
+[Footnote 83: _Cf._ Payments for work on "_Archi de la balcona de lo
+lavoriero de la +_," _i.e._, the crociera of the church, March 30 and
+April 11, 1444.]
+
+[Footnote 84: Siena Library.]
+
+[Footnote 85: Domopera, 7, vii. 1433.]
+
+[Illustration: _Alinari_
+
+THE MARZOCCO
+
+BARGELLO]
+
+
+[Illustration: _Alinari_
+
+THE MARTELLI SHIELD]
+
+Two fountains are ascribed to Donatello, made respectively for the
+Pazzi and Medici families. The former now belongs to Signor Bardini.
+It is a fine bold thing, but the figure and centrepiece are
+unfortunately missing. The marble is coated with the delicate patina
+of water: its decoration is rather nondescript, but there is no reason
+to suppose that Rossellino's _fonte_ mentioned by Albertini was the
+only one possessed by the Great House of the Pazzi. The Medici
+fountain, now in the Pitti Palace, is rather larger, being nearly
+eight feet high. The decoration is opulent, and one could not date
+these florid ideas before Donatello's later years. The boy at the top
+dragging along a swan is Donatellesque, but with mannerisms to which
+we are unaccustomed. The work is not convincing as regards his
+authorship. The marble Lavabo in the sacristy of San Lorenzo is also a
+doubtful piece of sculpture. It has been attributed to Verrocchio,
+Donatello and Rossellino. It has least affinity to Donatello. The
+detailed attention paid by the sculptor to the floral decoration, and
+the fussy manner in which the whole thing is overcrowded, as if the
+artist were afraid of simplicity, suggest the hand of Rossellino, to
+whom Albertini, the first writer on the subject, has ascribed it.
+Donatello made the Marzocco, the emblematic Lion of the Florentines,
+and it has therefore been assumed that he also made its marble
+pedestal. This is held to be contemporary with the niche of Or San
+Michele. So far as the architectural and decorative lines are
+concerned this is not impossible, though the early Renaissance motives
+long retained their popularity. There is, however, one detail showing
+that the base must be at least twenty-five years older than the niche.
+The arms of the various quarters of Florence are carved upon the
+frieze of the base. Among these shields we notice one bearing "on a
+field semee of fleurs-de-lys, a label, above all a bendlet dexter."
+These are not Italian arms. They were granted in 1452 to Jean, Comte
+de Dunois, an illegitimate son of the Duc d'Orleans. His coat had
+previously borne the bendlet sinister, but this was officially turned
+into a bendlet dexter, to show that the King had been pleased to
+legitimise him in recognition of his services to Joan of Arc. Jean was
+a contemporary of Donatello, and the coat may have been placed among
+the other shields as a compliment to France. Certainly no quarter of a
+town could use a mark of cadency below a bendlet, and Florence was
+more careful than most Italian towns to be precise in her heraldry.
+Numbers of stone shields bearing the arms of Florentine families were
+placed upon the palace walls. When high up and protected by the broad
+eaves they have survived; but, as a rule, those which were exposed to
+the weather, carved as they usually were in soft stone, have
+perished.[86] Bocchi mentions that Donatello made coats-of-arms for
+the Becchi, the Boni and the Pazzi. Others have been ascribed to him,
+namely, the Stemma of the Arte della Seta, from the Via di Capaccio,
+that on the Gianfigliazzi Palace, the shield inside the courtyard of
+the Palazzo Davanzati, and that on the Palazzo Quaratesi, all in
+Florence. These have been much repaired, and in some cases almost
+entirely renewed. The shield on the eastern side of the old Martelli
+Palace (in the Via de' Martelli, No. 9) is, perhaps, coeval with
+Donatello, but it is insignificant beside the shield preserved inside
+the present palace. This coat-of-arms, which is coloured according to
+the correct metals and tinctures, is one of the finest extant
+specimens of decorative heraldry. It is a winged griffin rampant, with
+the tail and hindlegs of a lion. The shield is supported by the stone
+figure of a retainer, cut in very deep relief, as the achievement was
+to be seen from the street below. But the shield itself rivets one's
+attention. This griffin can be classed with the Stryge, or the
+Etruscan Chimaera as a classic example of the fantastic monsters which
+were used for conventional purposes, but which were widely believed to
+exist. It possesses all the traditional attributes of the griffin. It
+is fearless and heartless: its horrible claws strike out to wound in
+every direction, and the whole body vibrates with feline elasticity,
+as well as the agile movement of a bird. Regarding it purely as a
+composition, we see how admirably Donatello used the space at his
+command: his economy of the shield is masterly. It is occupied at
+every angle, but nowhere crowded. The spaces which are left vacant are
+deliberately contrived to enhance the effect of the figure. It is the
+antithesis of the Marzocco.[87] The sculptor must have seen lions, but
+the Marzocco is not treated in a heraldic spirit, although it holds
+the heraldic emblem of Florence, the _fleur de lys florencee_.
+Physically it is unsuccessful, for it has no spring, there is very
+little muscle in the thick legs which look like pillars, and the back
+is far too broad. But Donatello is saved by his tact; he was
+ostensibly making the portrait of a lion; though he gives none of its
+features, he gives us all the chief leonine characteristics. He
+excelled in imaginary animals, like the Chinese artists who make
+admirable dragons, but indifferent tigers.
+
+[Footnote 86: _Cf._ those high up on the Loggia de' Lanzi, or in other
+Tuscan towns where the climate was not more severe, but where there
+was less cash or inclination to replace the shields which were worn
+away.]
+
+[Footnote 87: The marble original is now in the Bargello, and has been
+replaced by a bronze _replica_, which occupies the old site on the
+Ringhiera of the Palazzo Pubblico. Lions were popular in Florence.
+Albertini mentions an antique porphyry lion in the Casa Capponi, much
+admired by Lorenzo de' Medici. Paolo Ucello painted a lion fight for
+Cosimo. The curious rhymed chronicle of 1459 describes the lion fights
+in the great Piazza ("Rer. It. Script.," ii. 722). Other cases could
+be quoted. Donatello also made a stone lion for the courtyard of the
+house used by Martin V. during his visit to Florence in 1419-20.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SALOME RELIEF, SIENA.
+
+STATUETTE OF FAITH (TO LEFT)]
+
+
+[Sidenote: The Siena Font.]
+
+Siena had planned her Cathedral on so ambitious a scale, that had not
+the plague reduced her to penury the Duomo of Florence would have been
+completely outrivalled. The Sienese, however, ordered various works of
+importance for their Cathedral, and among these the Font takes a high
+place. It was entrusted to Jacopo della Quercia, who had the active
+assistance of Donatello and Ghiberti, as well as that of the Turini
+and Neroccio, townsmen of his own. Donatello was thus brought under
+new influences. He made a relief, a _sportello_ or little door, two
+statuettes, and some children, all in bronze, being helped in the
+casting by Michelozzo. Jacopo, who was about ten years older than
+Donatello, had been a competitor for the Baptistery gates. He was a
+man of immense power, in some ways greater than Donatello; never
+failing to treat his work on broad and massive lines, and one of the
+few sculptors whose work can survive mutilation. The fragments of the
+Fonte Gaya need no reconstruction or repair to tell their meaning;
+their statuesque virtues, though sadly mangled, proclaim the
+unmistakable touch of genius. But Donatello's personality was not
+affected by the Sienese artists. Jacopo, it is true, was constantly
+absent, being busily engaged at Bologna, to the acute annoyance of the
+Sienese, who ordered him to return forthwith. Jacopo said he would die
+rather than disobey, "_potius eligeret mori quam non obedire patriae
+suae_"; but the political troubles at the northern town prevented his
+prompt return. However, after being fined he got home, was reconciled
+to the Chapter, and ultimately received high honours from the city.
+His font is an interesting example of transition; the base is much
+more Gothic than the upper part. The base or font proper is a large
+hexagonal bason decorated with six bronze reliefs and a bronze
+statuette between each--Faith, Hope, Charity, Justice, Prudence, and
+Strength. The reliefs are scenes from the life of the Baptist. From
+the centre of the font rises the tall Renaissance tabernacle with five
+niches, in which Jacopo placed marble statues of David and the four
+major prophets, one of which suggested the San Petronio of Michael
+Angelo. A statue of the Baptist surmounts the entire font. In spite of
+the number of people who co-operated with Jacopo, the whole
+composition is harmonious. Donatello made the gilded statuettes of
+Faith and Hope. The former, looking downwards, has something of
+Sienese severity. Hope is with upturned countenance, joining her hands
+in prayer; charming alike in her gesture and pose. Two instalments for
+these figures are recorded in 1428. The authorities had been lax in
+paying for the work, and we have a letter[88] asking the Domopera for
+payment, Donatello and Michelozzo being rather surprised--"_assai
+maravigliati_"--that the florins had not arrived. The last of these
+bronze Virtues, by Goro di Neroccio, was not placed on the font till
+1431. Donatello also had the commission for the _sportello_, the
+bronze door of the tabernacle. But the authorities were dissatisfied
+with the work and returned it to the sculptor, though indemnifying him
+for the loss.[89] This was in 1434, the children for the upper cornice
+having been made from 1428 onwards. The relief, which was ordered in
+1421, was finished some time in 1427. It is Donatello's first relief
+in bronze, and his earliest definitive effort to use a complicated
+architectural background. The incident is the head of St. John being
+presented on the charger by the kneeling executioner. Herod starts
+back dismayed at the sight, suddenly realising the purport of his
+action. Two children playing beside him hurriedly get up; one sees
+that in a moment they, too, will be terror-stricken. Salome watches
+the scene; it is very simple and very dramatic. The bas-relief of St.
+George releasing Princess Sabra, the Cleodolinda of Spencer's Faerie
+Queen, is treated as an epic, the works having a connecting bond in
+the figures of the girls, who closely resemble each other. Much as one
+admires the _elan_ of St. George slaying the dragon, this bronze
+relief of Siena is the finer of the two; it is more perfect in its
+way, and Donatello shows more apt appreciation of the spaces at his
+disposal. The Siena plaque, like the marble relief of the dance of
+Salome at Lille, to which it is analogous, has a series of arches
+vanishing into perspective. They are not fortuitous buildings, but are
+used by the sculptor to subdivide and multiply the incidents. They
+give depth to the scene, adding a sense of the beyond. The Lille
+relief has a wonderful background, full of hidden things, reminding
+one of the mysterious etchings of Piranesi.
+
+[Footnote 88: 9. v. 1427. Milanesi, ii. 134.]
+
+[Footnote 89: Lusini, 28.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB OF COSCIA, POPE JOHN XXIII.
+
+BAPTISTERY, FLORENCE]
+
+
+[Illustration: _Alinari_
+
+EFFIGY OF POPE JOHN XXIII.
+
+BAPTISTERY, FLORENCE]
+
+
+[Sidenote: Michelozzo and the Coscia Tomb.]
+
+For ten years Donatello was associated with Michelozzo,[90] who began
+as assistant and finally entered into a partnership which lasted until
+1433. The whole subject is obscure, and until we have a critical
+biography of Michelozzo his relation with various men and monuments of
+the fifteenth century must remain problematical. Michelozzo has not
+hitherto received his due meed of appreciation. As a sculptor and
+architect he frequently held a subordinate position, and it has
+been assumed that he therefore lacked independence and originality.
+But the man who was Court architect of the Medici, and director of the
+Cathedral building staff, was no mere hack; while his sculpture at
+Milan, Naples, and Montepulciano show that his plastic abilities were
+far from mean. He was a great man with interludes of smallness. When
+Donatello required technical help in casting, Michelozzo was called
+in. Though Donatello had worked for Ghiberti on the bronze gates, he
+was never quite at home in the science of casting. Gauricus says he
+always employed professional help--"_nunquam fudit ipse, campanariorum
+usus opera semper_."[91] Caldieri cast for him at Padua. Michelozzo
+also helped Luca della Robbia in casting the Sacristy gates which
+Donatello should have made; the commissions which Donatello threw over
+were those for work in bronze. The partnership extended over some of
+the best years of Donatello's life, and three tombs, the St. Louis,
+and the Prato pulpit are among their joint products. The tombs of Pope
+John XXIII. in the Baptistery, that of Aragazzi the Papal Secretary at
+Montepulciano, and that of Cardinal Brancacci at Naples, are
+noteworthy landmarks in the evolution of sepulchral monuments, which
+attained their highest perfection in Italy. In discussing them it will
+be seen how fully Michelozzo shared the responsibilities of Donatello.
+Baldassare Coscia, on his election to the Papacy, took the title of
+John XXIII. He was deposed by a council and retired to Florence, where
+he died in 1418. He was befriended by the Medici, who erected the
+monument, the last papal tomb outside Rome, to his memory. "_Johannes
+Quondam Papa XXIII._" is inscribed on it, and it is said that Coscia's
+successful rival objected to this appellation of his predecessor, but
+the protest went unheeded. The tomb is remarkable in many ways. Its
+construction is most skilful, as it was governed by the two upright
+pillars between which the monument had to be fitted. We have a series
+of horizontal lines; a frieze at the base, then three Virtues; above
+this the effigy, and finally a Madonna beneath a baldachino. Each tier
+is separated by lines which intersect the columns at right angles. The
+task of making a monument which would not be dwarfed by these huge
+plain pillars was not easy. But the tomb, which is decorated with
+prudent reserve, holds its own. The effigy is bronze: all the rest is
+marble. It was probably coloured, and a drawing in Ghiberti's
+note-book gives a background of cherry red, with the figures
+gilded.[92] Coscia lies in his mitre and episcopal robes, his head
+turned outwards towards the spectator. The features are admirably
+modelled with the firmness and consistency of living flesh: indeed it
+is the portrait of a sleeping man, troubled, perhaps, in his dream.
+The tomb was made some years after Coscia's death, and Donatello has
+not treated him as a dead man. The effigy is a contrast to that of
+Cardinal Brancacci, where we have the unmistakable lineaments and
+fallen features of a corpse. The dusky hue of Coscia's face should be
+noticed; the bronze appears to have been rubbed with some kind of dark
+composition, similar in tone to that employed by Torrigiano. Below the
+recumbent Pope is the sarcophagus; two delightful winged boys hold
+the cartel on which the epitaph is boldly engraved. The three marble
+figures in niches at the base, Faith, Hope and Charity, belong to a
+different category. Albertini says that the bronze is by Donatello,
+and "_li ornamenti marmorei di suoi discipuli_." Half a century later,
+Vasari says that Donatello made two of them, and that Michelozzo made
+the Faith, which is the least successful of the three. Modern
+criticism tends to revert to Albertini, assigning all to Michelozzo,
+with the presumption that Hope, which is derived from the Siena
+statuette, was executed from Donatello's design. Certainly the basal
+figures are without the _brio_ of Donatello's chisel; likewise the
+Madonna above the effigy, which is vacillating, and may have been the
+earliest work of Pagno di Lapo, a man about whom we have slender
+authenticated knowledge, but whom we know to have been well employed
+in and around Florence. In any case, we cannot reconcile this Madonna
+with Michelozzo's sculpture. As will be seen later on, Michelozzo had
+many faults, but he was seldom insipid. The Madonna and Saints on the
+facade of Sant' Agostino at Montepulciano show that Michelozzo was a
+vigorous man. This latter work is certainly by him, the local
+tradition connecting it with one Pasquino da Montepulciano being
+unfounded. The Coscia tomb is among the earliest of that composite
+type which soon pervaded Italy. At least one other monument was
+directly copied from it, that of Raffaello Fulgosio at Padua. This was
+made by Giovanni da Pisa, and the sculptor's conflict between respect
+for the old model, and his desires after the new ideas, is apparent in
+the whole composition.
+
+[Footnote 90: See "Arch. Storico dell' Arte," 1893, p. 209.]
+
+[Footnote 91: "De Sculptura," 1504, folio e. 1. On the other hand, the
+sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and
+artillery for the Venetian Republic.]
+
+[Footnote 92: _Op. cit._ p. 70. In this drawing two _putti_ are also
+shown holding a shield, above the monument; this has now
+disappeared.]
+
+       *       *       *       *       *
+
+[Sidenote: The Aragazzi Tomb.]
+
+In the _Denunzia de' beni_ of 1427 Donatello states that he was
+working with Michelozzo on the tomb of Bartolommeo Aragazzi, and the
+monument has therefore been ascribed to them both. But recent research
+has established that, though preparatory orders were given in that
+year, a fresh contract was made two years later, and that Donatello's
+share in the work was nil. Michelozzo alone got payment up to 1436 or
+thereabouts, when the tomb was completed. Donatello's influence would,
+perhaps, have been visible in the design, but unhappily we can no
+longer even judge of this, for the tomb is a wreck, having been broken
+up to make room for structural alterations.[93] Important fragments
+are preserved, scattered about the church; but the sketch of the tomb,
+said to be preserved in the local library, has never yet been
+discovered. The monument had ill-fortune from the very beginning. An
+amusing letter has come down to us, pathetic too, for it records the
+first incident in the tragedy. Leonardo Aretino writes to Poggio, that
+when going home one day he came across a party of men trying to
+extricate a wagon which had stuck in the deep ruts. The oxen were out
+of breath and the teamsmen out of temper. Leonardo went up to them and
+made inquiries. One of the carters, wiping the sweat from his brow,
+muttered an imprecation upon poets, past, present and future (_Dii
+perdant poetas omnes, et qui fuerunt unquam et qui futuri sunt_.)
+Leonardo, a poet himself, asked what harm they had done him: and the
+man simply replied that it was because this poet, Aragazzi, who was
+lately dead, ordered his marble tomb to be taken all the way to
+Montepulciano from Rome, where he died; hence the trouble. "_Haec est
+imago ejus quam cernis_," said the man, pointing to the effigy, having
+incidentally remarked that Aragazzi was "_stultus nempe homo ac
+ventosus_."[94] Certainly Aragazzi was not a successful man, and he
+was addicted to vanity. In the marble we see a wan melancholy face,
+seemingly of one who failed to secure due measure of public
+recognition. The monument need not be further described, except to say
+that two of the surviving figures are very remarkable. They probably
+acted as caryatides, of which there must have been three, replacing
+ordinary columns as supporters of the sarcophagus. They can hardly be
+Virtues, for they are obviously muscular men with curly hair and
+brawny arms. They are not quite free from mannerisms: the attitudes,
+granting that the bent position were required by their support of the
+tomb, are not quite easy or natural. But, in spite of this, they are
+really magnificent things, placing their author high among sculptors
+of his day.
+
+[Footnote 93: The effigy is placed in a niche close to the great door
+of the Cathedral, put there "lest the memory of so distinguished a man
+should perish"--"_Simulacrum ejus diu neglectum, ne tanti viri memoria
+penitus deleretur, Politiana pietas hic collocandum curavit anno
+MDCCCXV_." The remainder consists of a frieze now incorporated in the
+high altar, on either side of which stand two caryatides. The Christ
+Blessing is close by. Two bas-reliefs are inserted into pillars
+opposite the effigy.]
+
+[Footnote 94: "Letters," Florence ed. 1741, vol. ii. 45.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB OF CARDINAL BRANCACCI
+
+NAPLES]
+
+
+[Sidenote: The Brancacci Tomb.]
+
+The Church of Sant' Angelo a Nilo at Naples contains the monument of
+Cardinal Brancacci, one of the most impressive tombs of this period.
+The scheme is a modification of the Coscia tomb. Instead of the three
+Virtues in niches at the base, there are three larger allegorical
+figures, which are free standing caryatides below the sarcophagus.
+They are allegorical figures, perhaps Fates, and correspond with the
+two somewhat similar statues at Montepulciano. The Cardinal's effigy
+lies upon the stone coffin, the face of which has a bas-relief between
+heraldic shields. Two angels stand above the recumbent figure, holding
+back the curtain which extends upwards to the next storey, surrounding
+a deep lunette in which there is a Madonna between two Saints. Here
+the monument should have ended, but it is surmounted by an ogival
+arch, flanked by two trumpeting children and with a central medallion
+of God the Father. This topmost tier may have been a subsequent
+addition. It overweights the whole monument, introduces a discordant
+architectural motive, and is decorated by inferior sculpture. The
+Madonna in the lunette is also poor, and the curtain looks as if it
+were made of lead. But the lower portion of the tomb compensates for
+the faults above. The caryatides, the bas-relief of the Assumption,
+the Cardinal himself and the mourning angels above him, are all superb
+in their different ways. Michelozzo may have been responsible for the
+architecture, and Pagno di Lapo for the upper reliefs. Donatello
+himself made the priceless relief of the Assumption, also the effigy,
+and the two attendants standing above it. The entire tomb is marble:
+it was made at Pisa,[95] close to the inexhaustible quarries which,
+being near to the sea, made transport easy and cheap. From the time of
+Strabo, the _marmor Lunense_ had been carried thence to every port of
+the Peninsula.[96] Michelozzo took the tomb to Naples, and perhaps
+added the final touches: not, indeed, that the carving is quite
+complete, the Cardinal's ear, for instance, being rough-hewn.
+Brancacci lies to the left, wearing a mitre on his head, which is
+raised on a pillow. The chiselling of the face is masterly. The
+features are shown in painful restless repose. The eyes are sunken and
+half closed: the lips are drawn, the brow contracted, and the throat
+shows all the tendons and veins which one notices in the Habbakuk, but
+which are here relaxed and uncontrolled. It is a death-mask: a grim
+and instantaneous likeness of the supreme moment, when the agony may
+have passed away, but not without leaving indelible traces of the
+crisis. The two angels look down on the dead prelate. They hold back
+the curtain which would conceal the effigy, thus inviting the
+spectator into the privacy of the tomb. In some ways these two angels
+are among the noblest creations of the master. They are comparatively
+small, their position is subordinate, and they have been repaired by a
+clumsy journeyman. Yet they have a majestic solemnity. They are calm
+impersonal mourners--not shrouded like the bowed figures which bear
+the effigy of the Senechal of Burgundy.[97] They stand upright, simply
+posed and simply clad guardian angels, absorbed by watching the dead.
+The three large figures which support the sarcophagus are by
+Michelozzo, and are intimately related to the Aragazzi caryatides.
+That on the right has a Burgundian look. They form a striking group,
+and their merits are not appreciated as they should be owing to the
+excellence of the sculpture immediately above them.
+
+[Footnote 95: Donatello worked there for eighteen months. See
+documents in Centofanti, p. 4, &c.]
+
+[Footnote 96: "_... Lapides albi et discolores ad coeruleum vergente
+specie._" Strabo, "Geog.," 1807 ed., I. v. p. 314.]
+
+[Footnote 97: Louvre, No. 216. Tomb of Philippe Pot, circa 1480.]
+
+       *       *       *       *       *
+
+[Sidenote: Stiacciato.]
+
+The Assumption of the Virgin occupies the central position of the
+tomb. It is a small panel. The Virgin is seated in a folding-chair
+which is familiar in fifteenth-century art. Surrounding her are angels
+supporting the clouds which make an oval halo round her, a _mandorla_.
+The cloud, curiously enough, is very heavy, yielding to the touch, and
+upheld by the flying angels, whose hands press their way into it, and
+bear their burden with manifest effort. There is none of the limpid
+atmosphere which Perugino secured in painting, and Ghiberti in
+sculpture. But, on the other hand, the air is full of drama, presaging
+an event for which Donatello thought a placid sky unsuitable. There
+are seven angels in all; the lowest, upon whose head the Virgin rests
+her foot, is half Blake and half Michael Angelo. But there are many
+other busy little cherubs swimming, climbing, and flying amidst the
+interstices of cloudland. The Virgin herself, draped in easy-flowing
+material, has folded her hands, and awaits her entry to Paradise. Her
+face is the picture of anxiety and apprehension. The Assumption is
+carved in the lowest possible relief, called _stiacciato_. The word
+means depressed or flattened. It is the word with which Condivi
+describes the appearance of Michael Angelo's nose after it had been
+broken--it was "_un poco stiacciato; non per natura_," but by the blow
+of a certain Torrigiano, "_huomo bestiale e superbo_."[98] Donatello
+was fond of this method of work. We have a fine example in London,[99]
+and his most successful use of _stiacciato_ is on the Roman Tabernacle
+made a few years after the Brancacci relief. Donatello did not invent
+this style. It had been used in classical times, though scarcely to
+the extent of Donatello, who drew in the marble. The Assyrians also
+used this low-relief; we find the system fully understood in what are
+perhaps the most spirited hunting scenes in the world.[100] In these
+we also notice the square and rectangular undercutting similar to that
+in many of Donatello's reliefs. Another specimen of this very
+low-relief is found in Mr. Quincy Shaw's marble panel of the Virgin
+and Child seated among clouds and surrounded by _putti_. This has been
+attributed to Donatello on good authority,[101] though it must be
+remarked that the cherubs' faces show poverty of invention which might
+suggest the hand of a weaker man. Moreover, the cherubs have halos,
+which is a later development, and quite contrary to Donatello's early
+practice. But the relief is an interesting composition, and if by
+Donatello, may be regarded as the parent of a group which attained
+popularity. M. Gustave Dreyfus has a smaller marble variant of great
+charm, made by Desiderio. A stucco panel treated in much the same
+manner is preserved at Berlin. The Earl of Wemyss has an early version
+in _repousse_ silver of high technical merit. From this point of view
+nothing is more instructive than a Madonna and Child at Milan.[102] It
+is probably the work of Pierino da Vinci, and is a thin oval slab of
+marble carved on either side. One side is unfinished, and is most
+valuable as showing the facility with which the sharp graving tools
+were employed to incise the marble. The composition bears a
+resemblance to the reliefs just mentioned, and the pose of the two
+heads is Donatellesque, but the Child is elongated and ill-drawn.
+Again, from a technical point of view, a medallion portrait of the
+late Lord Lytton shows that artists of our own day have used
+_stiacciato_ with perfect confidence and success.[103] Donatello was
+not always quite consistent in its employment. In the Entombment at
+Padua it is combined with high-relief. He, no doubt, acted
+deliberately; that is to say, he did not sketch a hand in
+_stiacciato_, because he had forgotten to provide for it in deeper
+relief. But the result is that the quality of the different planes is
+lost, and there are discrepancies in the relative values of distance.
+The final outcome of _stiacciato_ is the art of the medallist. It is
+said that Donatello made a medal, but nobody has determined which it
+is. Michelozzo certainly made one of Bentivoglio, about 1445.[104]
+This admirable art, which reached its perfection during Donatello's
+lifetime, owes something of its progress to the pioneer of
+_stiacciato_.
+
+[Footnote 98: "Vita di Michael Angelo," Rome, 1553, p. 49.]
+
+[Footnote 99: Victoria and Albert Museum, Charge to Peter. See p. 95.]
+
+[Footnote 100: British Museum, Assyrian Saloon, Nos. 63-6.]
+
+[Footnote 101: Bode, "Florentiner Bildhauer," p. 119.]
+
+[Footnote 102: In the Museo Archeologico in the Castello, unnumbered.]
+
+[Footnote 103: By Alfred Gilbert, R.A., belonging to the present Earl
+of Lytton.]
+
+[Footnote 104: See Armand, "Les Medailleurs Italiens," 1887, iii. p.
+3.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB PLATE OF BISHOP PECCI
+
+SIENA CATHEDRAL]
+
+
+[Sidenote: Tombs of Pecci, Crivelli, and Others.]
+
+The tomb of Giovanni de' Medici in San Lorenzo is interesting, and has
+been ascribed to Donatello. There is no documentary authority for this
+attribution, and on stylistic grounds it is untenable.[105] It is a
+detached tomb, so common elsewhere, but of singular rarity in Italy.
+The isolated tomb like this one, like that of Ilaria del Carretto, or
+that of Pope Sixtus IV. in St. Peter's, has great advantages over the
+tall upright monument _applique_ to a church wall. The latter is,
+however, the ordinary type of the Renaissance. The free-standing tomb
+can be seen from all aspects and lights. Although it must be
+smaller--some of the later wall-tombs are fifty feet high--the
+sculptor was obliged to keep his entire work well within the range of
+vision, and had to rely on plastic art alone for success. Much
+admirable sculpture, especially the effigies, has been lost by being
+placed too high on some pretentious catafalque in relief against a
+wall. The tomb of Giovanni, it is true, though standing in the centre
+of the sacristy, is covered by a large marble slab, which is the
+priest's table. It throws the tomb into dark shadow and makes it
+difficult to see the carving. There are few tombs of important people
+upon which so much trouble has been expended with so little result.
+Donatello is also said to have made a tomb for the Albizzi, but it has
+perished.[106] The tomb of Chellini in San Miniato, which tradition
+ascribed to Donatello, is probably the work of Pagno di Lapo. The prim
+and priggish Cardinal Accaiuoli in the Certosa of Florence does not
+suggest Donatello's hand. Though conscientious and painstaking, the
+work is without a spark of energy or conviction. These latter are
+slab-tombs, flat plates fastened into the church pavements. We have
+two authentic tombs of this character, on both of which Donatello has
+signed his name. Had he not done so, we could never have established
+his authorship of the marble slab-tomb of Archdeacon Crivelli in the
+Church of Ara Coeli at Rome. It has been trampled by the feet of so
+many generations, that all the features have been worn away; the
+legend is wholly effaced in certain parts, and one corner has had to
+be restored (though at some early date). But at best it cannot have
+compared with Donatello's similar tomb of Bishop Pecci at Siena, and
+one could quote numerous instances of equally good work by nameless
+men. There is one close to the Crivelli marble itself, another in the
+Pisa Baptistery, two in Santa Croce, and so forth. This kind of tomb
+had to undergo rough usage. Everybody walked upon it: the deep relief
+made it a receptacle for mud and rubbish. The effigy of the deceased,
+as was probably intended by him, was humbled in the dust: _adhesit
+pavimento_. The slabs got injured, and were often protected by low
+tables with squat legs. Later on the slabs were raised enough to
+prevent people standing on them, and thus became like free-standing
+tombs; but it only made them more suitable for the sitting
+requirements of the congregation. These sunken tombs, in fact, became
+a nuisance. Although they were not carved in the very deep relief like
+those one sees in Bavaria, they collected the dirt, and a papal brief
+was issued to forbid them--_ut in ecclesiis nihil indecens
+relinquatur_,[107] and the existing slabs were ordered to be removed.
+Irretrievable damage must have resulted from this edict, but
+fortunately it was disobeyed in Rome and ignored elsewhere. Nowadays
+it has become the custom to place these slabs upright against the
+walls, thus preventing further detrition. To Cavaliere D. Gnoli we owe
+the preservation of the Crivelli tomb, which was in danger of complete
+demolition.[108] By being embedded in a wall instead of lying in a
+pavement this kind of monument, while losing its primitive position,
+often gains in appearance. Crivelli, for instance, lies within an
+architectural niche. His head rests on a pillow, the tassels of which
+fall downwards towards his feet. When placed against a wall the need
+for a pillow may vanish, but the meaning and use of the niche becomes
+apparent, while the tassels no longer defy the laws of gravitation. He
+becomes a standing figure at once, and the flying _putti_ above his
+head assume a rational pose. It has been suggested that this and
+similar tomb-plates were always intended to be placed upright, and
+that the delicate ornamentation, of which some traces survive, would
+never have been lavished on marble doomed to gradual destruction. No
+general rule can be laid down, but undoubtedly most of these slabs
+were meant to be recumbent. There are few cases where some
+contradiction of _emplacement_ with pose cannot be detected. But two
+examples may be noted where the slabs were clearly intended to be
+placed in walls. An unnamed bishop at Bologna lies down, while at
+either end of the slab an angel _stands_, at right angles to the
+recumbent figure, holding a pall or curtain over the dead man.[109]
+Signor Bardini also has an analogous marble effigy of a mitred bishop,
+about 1430-40, who lies down while a friar stands behind his head.
+These slabs were, therefore, obviously made for insertion in a wall,
+and they are quite exceptional. The tomb-plate of Bishop Pecci in
+Siena Cathedral is less open to objection on the ground of incongruity
+between its position and the Bishop's pose. It is made of bronze, and
+is set in the tessellated pavement of green, white and mauve marble.
+Technically it is a triumph. Although the surface is considerably
+worn, we have the sense of absolute calm and repose--in striking
+contrast to the wearied look of Brancacci. The Bishop died on March 1,
+1426; a few days previously he wrote his will, while he lay
+dying--"_sanus mente licet corpore languens_"--and left careful
+instructions as to his burial in an honourable part of the Cathedral
+and how the exact cost of his funeral was to be met.[110] In a way the
+figure resembles St. Louis, and Donatello probably had the help of
+Michelozzo in the casting. The work itself is extremely good, and the
+bronze has the rich colour which one finds most frequently in the
+smaller provincial towns where time is allowed to create its own
+_patina_. Donatello was a bold innovator, and the Tomb of Coscia,
+though not the parent of the Renaissance theory of funeral monuments,
+had marked influence upon its evolution. From the simple outdoor tombs
+placed upon pillars, such as one principally finds north of the
+Apennines, there issued a grander idea which culminated in the
+monuments of the Scaligers at Verona. But Donatello reverted to the
+earlier type of indoor tomb, and from his day the tendency to treat
+them as an integral feature of mural and structural decoration
+steadily increased. A host of sculptors filled the Tuscan churches
+with those memorials which constitute one of their chief attractions.
+These men imbued death with its most gentle aspect, concealing the
+tragedy and sombre meaning of their work with gay arabesques and the
+most living and lovable creations of their fancy. The _putti_, the
+bright heraldry, the play of colour, and the opulence of decoration,
+often distract one's eye from the effigy of the dead: and he, too, is
+often smiling. He may represent the past: the rest of the tomb is
+born of the present, and seldom--exception being made for a group of
+tombs to which reference will be made later on[111]--seldom is there
+much regard for the future. The dead at least are not asked to bury
+their dead. They lie in state, surrounded by all that is most young
+and blithe in life: it is a death which shows no indifference to the
+life which is left behind. With them death is in the midst of life,
+not life in the midst of death. Donatello was too severe for the later
+Renaissance, and the brilliant sculptors who succeeded him lost
+influence in their turn. With the development of sculpture, which
+during Michael Angelo's lifetime acquired a technical skill to which
+Donatello never aspired, the tomb became a vehicle for ostentation and
+display; and there was a reaction towards the harsher symbols of
+death. Instead of the quiet mourner who really mourns, we have the
+strident and professional weeper--a parody of sorrow. Tier upon tier
+these prodigious monuments rise, covering great spaces of wall,
+decorated with skulls and skeletons, with Time carrying his scythe,
+with negro caryatides, and with apathetic or showy models masquerading
+as the cardinal virtues. The effigy itself is often perched up so high
+as to be invisible, or sitting in a ridiculous posture. "Princes'
+images on their tombs," says Bosola in Webster's play, "do not lie as
+they were wont, seeming to pray up to heaven; but with their hands
+under their cheeks, as if they had died of toothache."[112] Venice
+excelled in this rotund and sweltering sculpture. Yet it cannot be
+wholly condemned. Though artificial, theatrical and mundane, its
+technical supremacy cannot be denied. The amazing ease with which
+these huge monuments are contrived, and the absolute sense of mastery
+shown by the sculptor over the material are qualities too rare to be
+lightly overlooked. Whatever we may think of the artist, our
+admiration is commanded by the craftsman.
+
+[Footnote 105: Wreaths and _putti_ form its decoration, and though
+Donatellesque, they are not by Donatello. This was pointed out as
+early as 1819. See "Monumenti Sepolcrali della Toscana," p. 28.]
+
+[Footnote 106: Bocchi, 354.]
+
+[Footnote 107: Bull., "Cum primum," sec. 6, "_et ut in ecclesiis nihil
+indecens relinquatur, iidem provideant, ut capsae omnes, et deposita,
+seu alia cadaverum, conditoria super terram existentia omnino
+amoveantur, pro ut alias statutum fuit, et defunctorum corpora in
+tumbis profundis, infra terram collocentur_." Bullarium, 1566, vol.
+iv., part ii., p. 285. For the whole question of the evolution of
+these tombs, see Dr. von Lichtenberg's valuable book, "Das Portraet an
+Grabdenkmalen," Strassburg, 1902.]
+
+[Footnote 108: See "Archivio Storico dell' Arte," 1888, p. 24, &c.]
+
+[Footnote 109: In Santo Stefano, Cortile di Pilato.]
+
+[Footnote 110: "Misc. Storica Senese," 1893, p. 30.]
+
+[Footnote 111: See p. 171.]
+
+[Footnote 112: From the Duchess of Malfi, quoted in Symonds' "Fine
+Arts," p. 114.]
+
+       *       *       *       *       *
+
+[Sidenote: The Second Visit to Rome.]
+
+During the year 1433, when Florence enjoyed the luxury of driving
+Cosimo de' Medici into exile, Donatello went to Rome in order to
+advise Simone Ghini about the tomb of Pope Martin V.--_temporum suorum
+filicitas_, as the epitaph says.[113] This visit to Rome, which is not
+contested, like the visit thirty years earlier, did not last long, and
+certainly did not divert Donatello from the line he had struck out. At
+this moment the native art of Rome was colourless. A generation later
+it became classical, and then lapsed into decadence. The number of
+influences at work was far smaller than would at first be imagined. It
+is generally assumed that Rome was the home of classical sculpture.
+But early in the fifteenth century Rome must have presented a scene of
+desolation. The city had long been a quarry. Under Vespasian the
+Senate had to pass a decree against the demolition of buildings for
+the purpose of getting the stone.[114] Rome was plundered by her
+emperors. She was looted by Alaric, Genseric, Wittig and Totila in
+days when much of her art remained _in situ_. She was plundered by her
+Popes. Statues were used as missiles; her marble was exported all over
+the world--to the Cathedrals of Orvieto and Pisa, even to the Abbey
+Church of Westminster. Suger, trying to get marble columns for his
+church, looked longingly at those in the baths of Diocletian, a
+natural and obvious source, though happily he stole them
+elsewhere.[115] The vandalism proceeded at an incredible pace. Pius
+II. issued a Bull in 1462 to check it; in 1472 Sixtus IV. issued
+another. Pius, however, quarried largely between the Capitol and the
+Colosseum. The Forum was treated as an ordinary quarry which was let
+out on contract, subject to a rental equivalent to one-third of the
+output. But in 1433, and still more during the first visit, there was
+comparatively little sculpture which would lead Donatello to classical
+ideas. Poggio, writing just before Donatello's second visit, says
+he sees almost nothing to remind him of the ancient city.[116]
+He speaks of a statue with a complete head as if that were very
+remarkable--almost the only statue he mentions at all. Ghiberti
+describes two or three antique statues with such enthusiasm that one
+concludes he was familiar with very few. In fact, before the great
+digging movement which enthralled the Renaissance, antique sculpture
+was rare. But little of Poggio's collection came from Rome: Even
+Lorenzo de' Medici got most of his from the provinces. A century later
+Sabba del Castiglione complains of having to buy a Donatello owing to
+the difficulty of getting good antiques.[117] Rome had been devastated
+by cupidity and neglect as much as by fire and sword. "Ruinarum urbis
+Romae descriptio" is the title of one of Poggio's books. Alberti says
+that in his time he had seen 1200 ruined churches in the city.[118]
+Bramantino made drawings of some of them.[119] Pirro Ligorio, an
+architect of some note, gives his recipe for making lime from antique
+statues--so numerous had they become. But much remained buried before
+that time, _sotterrate nelle Rovine d'Italia_,[120] and Vasari
+explains that Brunellesco was delighted with a classical urn at
+Cortona, about which Donatello had told him, because such a thing was
+rare in those times, antique objects not having been dug up in such
+quantities as during his own day.[121] But the passion for classical
+learning developed quickly, and was followed by the desire for
+classical art. Dante had scarcely realised the art of antiquity,
+though more was extant in 1300 than in 1400. Petrarch, who was more
+sympathetic towards it, could scarcely translate an elementary
+inscription. From the growing desire for knowledge came the search for
+tangible relics: but love of classical art was founded on sentiment
+and tradition. As regards the sculptors themselves, their art was less
+influenced by antiquity than were the arts of poetry, oratory and
+prose. While Rossellino, Desiderio, Verrocchio and Benedetto da Maiano
+maintained their individuality, the indigenous literature of Tuscany
+waned. Sculpture retained its freedom longer than the literary arts,
+and when the latter recovered their national character sculpture
+relapsed in their place into classicism. From early times sculptors
+had, of course, learned what they could from classical exemplars.
+Niccola Pisano copied at least four classical motives. There was no
+plagiarism; it was a warm tribute on his part, and at that time a
+notable achievement to have copied at all. But the imitation of
+antiquity was carried to absurd lengths. Ghiberti, who was a literary
+man, says that Andrea Pisano lived in the 410th Olympiad.[122] But
+Ghiberti remained a Renaissance sculptor, and his classical
+affectation is less noticeable in his statues than in his prose.
+Filippo Strozzi went so far as to emancipate his favourite slave, a
+"_grande nero_," in his will.[123] But Gothic art died hard. The
+earlier creeds of art lingered on in the byways, and the Renaissance
+was flourishing long before Gothic ideas had completely perished--that
+is to say, Renaissance in its widest meaning, that of reincarnated
+love of art and letters: if interpreted narrowly the word loses its
+deep significance, for the Renaissance engendered forms which had
+never existed before. But it must be remembered that in sculpture
+classical ideas preceded classical forms. Averlino, or Filarete, as a
+classical whim led him to be called, began the bronze doors of St.
+Peter's just before Donatello's visit. They are replete with classical
+ideas, ignoble and fantastic, but the art is still Renaissance.
+Comparatively little classical art was then visible, and its
+infallibility was not accepted until many years later, when Rome was
+being ransacked for her hidden store of antiquities. Statues were
+exhumed from every heap of ruins, generally in fragments: not a dozen
+free-standing marble statues have come down to us in their pristine
+condition. The quarrymen were beset by students and collectors anxious
+to obtain inscriptions. Traders in forgeries supplied what the diggers
+could not produce. Classical art became a fetish.[124] The noble
+qualities of antiquity were blighted by the imitators, whose inventive
+powers were atrophied, while their skill and knowledge left nothing to
+be desired. Excluding the Cosmati, Rome was the mother of no period or
+movement of art excepting the Rococo. As for Donatello himself, he was
+but slightly influenced by classical motives. His sojourn in Rome was
+short, his time fully occupied; he was forty-seven years old and had
+long passed the most impressionable years of his life. He was a noted
+connoisseur, and on more than one occasion his opinion on a question
+of classical art was eagerly sought. But, so far as his own art was
+concerned, classical influences count for little. His architectural
+ideas were only classical through a Renaissance medium. When a patron
+gave him a commission to copy antique gems, he did his task faithfully
+enough, but without zest and with no ultimate progress in a similar
+direction. When making a portrait he would decorate the sitter's
+helmet or breastplate with the cameo which actually adorned it. With
+one exception, classical art must be sought in his detail, and only
+in the detail of work upon which the patron's advice could be suitably
+offered and accepted. Donatello may be compared with the great
+sculptors of antiquity, but not to the extent of calling him their
+descendant. Raffaelle Mengs was entitled to regret that the other
+Raffaelle did not live in the days of Phidias.[125] Flaxman was
+justified in expressing his opinion that some of Donatello's work
+could be placed beside the best productions of ancient Greece without
+discredit.[126] These _obiter dicta_ do not trespass on the domain of
+artistic genealogy. But it is inaccurate to say, for instance, that
+the St. George is animated by Greek nobility,[127] since in this
+statue that quality (whether derived from Gothic or Renaissance
+ideals) cannot possibly have come from a classical source.
+Baldinucci is on dangerous ground in speaking of Donatello as
+"_emulando mirabilmente la perfezione degli antichissimi scultori
+greci_"[128]--the writer's acquaintance with archaic Greek sculpture
+may well have been small! We need not quarrel with Gori for calling
+Donatello the Florentine Praxiteles; but he is grossly misleading in
+his statement that Donatello took the greatest pains to copy the art
+of the ancients.[129] Donatello may be the mediaeval complement of
+Phidias, but he is not his artistic offspring.
+
+[Footnote 113: It is a bronze slab, admirably wrought and preserved,
+in S. Giovanni Laterano. Were it not for an exuberance of decoration,
+one might say that Donatello was responsible for it; the main lines
+certainly harmonise with his work. Simone Ghini was mistaken by Vasari
+for Donatello's somewhat problematical brother Simone.]
+
+[Footnote 114: See Codex. Just. Leg. 2. Cod. de aedif. privatis. A
+similar law at Herculaneum had forbidden people to make more money by
+breaking up a house than they paid for the house itself, under penalty
+of being fined double the original outlay. This shows the extent of
+speculative destruction. Reinesius, "Synt. Inscript. Antiq.," 475, No.
+2.]
+
+[Footnote 115: See his Libellus in "Rer. Gall. Script.," xiv. 313.]
+
+[Footnote 116: _Nihil fere recognoscat quod priorem urbem
+repraesentet_, in "De Varietate fortunae urbis Romae." Nov. Thes. Antiq.
+Rom., i. 502.]
+
+[Footnote 117: "Ricordi," 1544. No. 109, p. 51.]
+
+[Footnote 118: Written about 1450. "De re aedificatoria." Paris ed.
+1553, p. 165.]
+
+[Footnote 119: _Cf._ Plate 49 in "Le Rovine di Roma." "Tempio
+circolare." Written beside it is "_Questo sie uno tempio lo quale e
+Atiuero_ (i.e., _che e presso al Tevere_) _dove se chauaue li prede
+antigha mente_ (i.e., _si cavavano le pietre anticamente_)."]
+
+[Footnote 120: Vasari, "Proemio," i. 212.]
+
+[Footnote 121: _Cosa allora rara, non essendosi dissotterata quella
+abbondanza che si e fatta ne' tempi nostri_, i. 203.]
+
+[Footnote 122: "2nd Commentary," in Vasari, I. xxviii.]
+
+[Footnote 123: Gaye, i. 360.]
+
+[Footnote 124: _Cf._ the action of the Directory in year vi. of the
+French Republic. They ordered the statues looted in Italy to be
+paraded in Paris--hoping to find the clue to ancient supremacy. Louis
+David pointedly observed, "_La vue ... formera peut-etre des savans,
+des Winckelmann: mais des artistes, non_."]
+
+[Footnote 125: "Works," 1796, i. 151.]
+
+[Footnote 126: "Lectures," 1838, p. 248.]
+
+[Footnote 127: Semper, p. 93.]
+
+[Footnote 128: Ed. 1768, p. 74.]
+
+[Footnote 129: "Donatellus, qui primum omnium vetustis monumentis
+mirifice delectatus est, eaque imitari ac probe exprimere in suis
+operibus adsidue studuit."--"Dactyliotheca Smithiana," 1768, II. p.
+cxxvi.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TABERNACLE
+
+ST. PETER'S, ROME]
+
+
+[Illustration: THE CHARGE TO PETER
+
+LONDON]
+
+
+[Sidenote: Work at Rome.]
+
+Up till a few years ago the most important work Donatello made in Rome
+was unknown. We were aware that he had made a tabernacle, but all
+record of it was lost, until Herr Schmarsow identified it in
+1886.[130] It was probably made for the Church of Santa Maria della
+Febbre,[131] and was transported to St. Peter's when Santa Maria was
+converted into a sacristy. The tabernacle is now in the Sacristy of
+the Canons, surrounded by sham flowers and tawdry decoration, which
+reduce its charms to a minimum. Moreover, the miraculous painting of
+the Madonna and Child which fills the centrepiece--having, perhaps,
+replaced a metal grille or marble relief, has been so frequently
+restored that a discordant element is introduced. The tabernacle is
+about six feet high; it is made of rather coarse Travestine marble,
+and in several parts shows indications of the hand of an assistant. It
+has suffered in removal; there are two places where the work has been
+repaired, and the medallion in the lower frieze has been filled with
+modern mosaic; otherwise it is in good order. It is essentially an
+architectural work, but the number of figures introduced has softened
+the hard lines of the construction, giving it plenty of life. Four
+little angels, rather stumpy and ill-drawn, are sitting on the
+lower plinth. Above them rise the main outer columns which support
+the upper portion of the tabernacle, and enclose the central opening,
+where the picture is now fixed. At the base of these columns there
+are two groups of winged children, three on either side, looking
+inwards towards the central feature of the composition. They
+bend forward reverently with their hands joined in prayer and
+adoration--admirable children, full of shyness and deference. The
+upper part of the tabernacle, supported on very plain corbels, is
+occupied by a broad relief, at either end of which stand other winged
+angels, more boyish and confident than those below. This relief
+is, perhaps, Donatello's masterpiece in _stiacciato_. It is the
+Entombment, his first presentment of those intensely vivid scenes
+which were so often reproduced during his later years. Christ is just
+being laid in the tomb by two solemn old men with flowing beards, St.
+Joseph and St. Peter. The Virgin kneels as the body is lowered into
+the tomb. Behind her is St. Mary Magdalene, her arms extended, her
+hair dishevelled; scared by the frenzy of her grief. To the right St.
+John turns away with his face buried in his hands. The whole
+composition--striking in contrast to the quiet and peaceful figures
+below--is treated with caution and reserve. But we detect the germ of
+the pulpits of San Lorenzo, where the rough sketch in clay could
+transmit all its fire and energy to the finished bronze. In this case
+Donatello not only felt the limitations of the marble, but he was not
+yet inclined to take the portrayal of tragedy beyond a certain point.
+The moderation of this relief entitles it to higher praise than we can
+give to some of his later work. The other panel in _stiacciato_ made
+about this time belonged to the Salviati family.[132] Technically the
+carving is inferior to that in St. Peter's, and it may be that in
+certain parts, especially, for instance, round the heads of Christ
+and one of the Apostles, the work is unfinished. Christ is seated on
+the clouds, treated like those on the Brancacci panel, and hands the
+keys to St. Peter. The Apostles stand by, the Virgin kneels in the
+foreground, and on the left there are two angels like those on the
+tabernacle. Trees are lightly sketched in, and no halos are employed.
+The work is disappointing, for it is carved in such extraordinarily
+low-relief that parts of it are scarcely recognisable on first
+inspection; the marble is also rather defective. As a composition--and
+this can best be judged in the photograph--the Charge to Peter is
+admirable. The balance is preserved with skill, while the figures are
+grouped in a natural and easy fashion. The row of Apostles to the left
+shows a rendering of human perspective which Mantegna, who liked to
+make his figures contribute to the perspective of the architecture
+around them, never surpassed. This panel, in spite of Bocchi's praise,
+shares one obvious demerit with the relief in St. Peter's. The Virgin,
+who kneels with outstretched hands as she gazes upwards to the Christ,
+is almost identical with a figure on the Entombment. She is ugly, with
+no redeeming feature. The pose is awkward, the drapery graceless, the
+contour thick, and her face, peering out of the thick veil, is
+altogether displeasing. One has no right to look for beauty in
+Donatello's statues of adults: character is what he gives. But neither
+does one expect this kind of vagary. There is great merit in the
+plaintive and wistful ugliness of the Zuccone: Here the ugliness is
+wanton, and therefore inexcusable. The Crivelli tomb and the Baptist
+in San Giovanni Fiorentino have been already described. There were
+other products of Donatello's visit to Rome, but they are now lost.
+Tradition still maintains that the wooden Baptist in S. Giovanni
+Laterano is his work. But it cannot possibly be by him, though it may
+be a later copy of a fifteenth-century original. Curiously enough,
+there is another Baptist in the same church which is Donatellesque in
+character and analogous in some respects to the St. John at Siena,
+namely, the large bronze statue signed by Valadier and dated 1772.
+Valadier was a professional copyist, some of his work being in the
+Louvre. Where he got the design for this Baptist we do not know; but
+it is certainly not typical of the late eighteenth century. Titi
+mentions a head in Santa Maria Sopra Minerva, and a medallion portrait
+of Canon Morosini in Santa Maria Maggiore.[133] Neither of them can be
+found.
+
+[Footnote 130: See Schmarsow, p. 32.]
+
+[Footnote 131: See "Arch. Storico dell' Arte," 1888, p. 24.]
+
+[Footnote 132: Victoria and Albert Museum, No. 7629, 1861. Bocchi
+says: "_Un quadro di marmo di mano di Donatello di basso relievo: dove
+e effigiato quando da le chiavi Cristo a S. Pietro. Estimata molto da
+gli artefici questa opera: la quale per invenzione e rara, e per
+disegno maravigliosa. Molto e commendata la figura di Cristo, e la
+prontezza che si scorge nel S. Pietro. E parimente la Madonna posta in
+ginocchione, la quale in atto affetuoso ha sembiante mirabile e
+divoto_," p. 372.]
+
+[Footnote 133: "Ammaestramento Utile," 1686, p. 141. "_Una testa nel
+deposito a mano destra della Porta Maggiore, e scoltura di Donatello
+Fiorentino._" In Chapel of Paul V., Sta. M. Maggiore: "_In terra in
+una lapide vi e di profilo la figura del Canonico Morosini, opera di
+Donatello famoso scultore e architetto._" _Ibid._ p. 241.]
+
+       *       *       *       *       *
+
+[Sidenote: The Medici Medallions.]
+
+The Medici did not remain in exile long, and their return to Florence
+marks an epoch in the artistic as well as the political history of
+Tuscany. From this moment the sway of the private collector and patron
+began. Gradually the great churches and corporations ceased giving
+orders on the grand scale, for much of the needful decoration was by
+then completed. By the middle of the century patronage was almost
+wholly vested in the magnates of commerce and politics: if a chapel
+were painted or a memorial statue set up, in most cases the artist
+worked for the donor, and not for the church authorities. The
+monumental type of sculpture became more rare, _bric a brac_ more
+common. Well-known men like Donatello received the old kind of
+commission to the end of their lives, while younger men, though fully
+occupied, were seldom entrusted with comprehensive orders. Even
+Michael Angelo was more dependent on the Pope than upon the Church.
+Among the earliest commissions given by the Medici after their return
+was an order for marble copies of eight antique gems. These were
+placed in the courtyard of their Florentine house, now called the
+Palazzo Riccardi. They are colossal in size, and represent much labour
+and no profit to art. Nothing is more suitably reproduced on a cameo
+than a good piece of sculpture; but the engraved gem is the last
+source to which sculpture should turn for inspiration. Donatello had
+to enlarge what had already been reduced; it was like copying a
+corrupt text. The size of these medallions accentuates faults which
+were unnoticed in the dainty gem. The intaglio of Diomede and the
+Palladium (now in Naples) is too small to show the fault which is so
+glaring in the marble relief, where Diomede is in a position which it
+is impossible for a human being to maintain. But the relief is
+admirably carved: nothing could be better than the straining sinews of
+the thigh; and it is of interest as being the only one which is
+related to any other work of the sculptor. The head of one of the
+angels in the Brancacci Assumption is taken from this Diomede or from
+some other version of it. A similar treatment is found in Madame
+Andre's relief of a young warrior. It has been pointed out that some
+of the gems from which these medallions were made did not come into
+the Medici Collections until many years later.[134] Cosimo may have
+owned casts of the originals, or Donatello may have copied them in
+Rome, for they belonged at this time to the Papal glyptothek, from
+which they were subsequently bought. The subjects of these roundels
+are Ulysses and Athena, a faun carrying Bacchus, two incidents of
+Bacchus and Ariadne, a centaur, Daedalus and Icarus, a prisoner before
+his victor, and the Diomede. Gems became very popular and expensive: a
+school of engravers grew up who copied, invented, and forged.
+Carpaccio introduced them into his pictures,[135] and Botticelli used
+them so freely that they almost became the ruling element of
+decoration in the "Calumny." Gems are incidentally introduced in
+Donatello's bust of the so-called Young Gattamelata, and on Goliath's
+helmet below the Bronze David. The Medusa head occurs on the base of
+the Judith, on the Turin Sword hilt, and on the armour of General
+Gattamelata. So much of Donatello's work has perished that it is
+almost annoying to see how well these Medici medallions are
+preserved--the work in which his individuality was allowed little
+play, and in which he can have taken no pride.
+
+[Footnote 134: Molinier, "Les Plaquettes," 1886, p. xxvi.]
+
+[Footnote 135: _Cf._ St. Ursula, Accademia, Venice, No. 574.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+THE BRONZE DAVID
+
+BARGELLO, FLORENCE]
+
+
+[Sidenote: The Bronze David.]
+
+According to Vasari, the Bronze David was made for Cosimo before the
+exile of the Medici, and consequently previous to Donatello's second
+journey to Rome. It was removed from the courtyard of the palace to
+the Palazzo Pubblico, where it remained for many years. Doni mentions
+it as being there in 1549,[136] and soon afterwards it was replaced by
+Verrocchio's fountain of the Boy squeezing the Dolphin. It is now in
+the Bargello. The base has been lost. Albertini says it was made of
+variegated marbles.[137] Vasari says it was a simple column.[138] It
+has been suggested that the marble pillar now supporting the Judith
+belonged to the David, but the David is even less fitted to this
+ill-conceived and pedantic shaft than Judith herself. The David soon
+acquired popularity; the French envoy, Pierre de Rohan, wanted a copy
+of it. It was certainly a remarkable innovation, being probably the
+first free-standing nude statue made in Italy for a thousand years.
+There had been countless nude figures in relief, but the David was
+intended to be seen from every side of Cosimo's _cortile_. There was
+no experimental stage with Donatello; his success was immediate and
+indeed conclusive. David is a stripling. He stands over the head of
+Goliath, a sword in one hand and a stone in the other, wearing his
+helmet, a sort of sun-hat in bronze which is decorated with a chaplet
+of leaves; below his feet is a wreath of bay. It is a consistent study
+in anatomy. The David is perhaps sixteen years old, agile and supple,
+with a hand which is big relative to the forearm, as nature ordains.
+The back is bony and rather angular; the torso is brilliantly wrought,
+with a purity of outline and a _morbidezza_ which made the artists in
+Vasari's time believe the figure had been moulded from life. One might
+break the statue into half a dozen pieces, and every fragment would
+retain its vitality and significance. The limbs are alert and full of
+young strength, with plenty more held in reserve: it is heroic in all
+respects except dimension. The face is clear cut, and each feature
+is rendered with precision. The expression is one of dreamy
+contemplation as he looks downwards on the spoils and proof of
+conquest. David hath slain his tens of thousands! Finally the quality
+of the statue is enhanced by the care with which the bronze has been
+chiselled. Goliath's helmet, and David's greaves, on which the _fleur
+de lys florencee_ has been damascened, are decorated with unfailing
+tact. The embellishment is in itself a pleasure to the eye, but it is
+prudently contained within its legitimate sphere; for Donatello would
+not allow the accessory to invade the statue itself, which is the
+chief fault of the rival David by Verrocchio. Donatello's statue marks
+an epoch in the study of anatomy. It is a genuine interpretation of a
+very perfect piece of humanity; but his knowledge compared with that
+of his successors was empiric. Leonardo's subtle skill was based upon
+dissection. Michael Angelo likewise studied from the human corpse,
+distasteful as he found the process. Donatello had no such scientific
+training: he had no help from the surgeon or the hospital, hence
+mistakes; his doubt, for instance, about the connection between ribs
+and pectoral bones was never resolved. But, notwithstanding this lack
+of technical data, the Bronze David has a distinction which is absent
+in statues made by far more learned men. Donatello's intuition
+supplied what one would not willingly exchange for the most exact
+science of the specialist. The David was an innovation, but the phrase
+must be guarded. It was only an innovation so far as it was a
+free-standing study from the nude. Nothing is more misleading than the
+commonplace that Christianity was opposed to the representation of the
+nude in its proper place. The early Church, no doubt, underwent a
+prolonged reaction against all that it might be assumed to connote;
+one might collect many quotations from patristic literature to this
+effect. But the very articles of the Christian Creed militated against
+the ultimate scorn of the human body: the doctrine of the Resurrection
+alone was enough to give it more sanctity than could be derived from
+all the polytheism of antiquity. The Baptism of Christ, the descent
+into Limbo, and the Crucifixion itself, were scenes from which the use
+of drapery had to be less or more discarded. The porches and frontals
+of Gothic churches abounded in nude statuary, from scenes in the
+Garden of Eden down to the Last Judgment. Abuses crept in, of course,
+and the Faith protested against them. The advancing standard of
+comfort and, no doubt, a steadily deteriorating climate, diminished
+the everyday familiarity with undraped limbs. Clothes became numerous
+and more normal; the artist came to be regarded as the purveyor of
+what had ceased to be of natural occurrence. He was encouraged by the
+connoisseur, lay and cleric, who found his literature in antiquity,
+and then demanded classical forms in his art. The nude was arbitrarily
+employed: there was no biblical authority for a naked David, and
+Donatello was therefore among the first to err in this respect. The
+taste for this kind of thing sprang from humanism, and throve with
+hellenism, till a counter-reaction came suddenly in the sixteenth
+century. Michael Angelo was hotly attacked for his excessive study
+from the nude as prejudicial to morals.[139] Ammanati wrote an abject
+apology to the Accademia del Disegno for the very frank nudity of his
+statues.[140] Some of the work of Bandinelli and Bronzino had to be
+removed. What was a rational and healthy protest has survived in
+grotesque and ill-fitting drapery made of tin--very negation of
+propriety. Although needed for biblical imagery, the nude in Italy was
+always exotic; in Greece it was indigenous. From the time of Homer
+there had been a worship of physical perfection. The Palaestra, the
+cultivation of athletics in a nation of soldiers, the religions of the
+country, with its favourable atmosphere, climate, and stone, all
+combined to make the nude a normal aspect of human life. But it was
+not the sole inspiration of their art: in Sparta, where there was most
+nude there was least art; in Italy, when there was worst art there was
+most nude.
+
+[Footnote 136: "_... una colonna nel mezzo dove e un Davitte di
+Donatello dignissimo._" Letter to Alberto Lollio, 17. viii. 1549,
+Bottari, iii. 341.]
+
+[Footnote 137: _Giu abasso e Davit di bronzo sopra la colonna fine di
+marmo variegato._ "Memoriale."]
+
+[Footnote 138: "Life of Bandinelli," x. 301.]
+
+[Footnote 139: "Due dialogi di Giovanni Andrea Gilio da Fabriano,"
+1564; a tiresome and discursive tirade.]
+
+[Footnote 140: 22. viii. 1582. Reprinted in Bottari, ii. 529.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+CANTORIA
+
+IN OPERA DEL DUOMO, FLORENCE]
+
+
+[Sidenote: Donatello and Childhood.]
+
+Michael Angelo strove to attain the universal form. His world was
+peopled with Titans, and he realised his ambition of portraying
+generic humanity: not, indeed, by making conventional, but by
+eliminating everything that was not typical. The earliest plastic art
+took clay and moulded the human form; the next achievement was to make
+specific man--the portrait; lastly, to achieve what was universal--the
+type. The progress was from man, to man in particular, and ultimately
+to man in general. There was a final stage when the typical lost its
+type without reverting to the specific, to the portrait. The
+successors of Michael Angelo were among the most skilful craftsmen who
+ever existed; but their knowledge only bore the fruit of unreality.
+Donatello did not achieve the typical except in his children: it was
+only in children that Michael Angelo failed. He missed this supreme
+opportunity; those on the roof of the Sistine Chapel are solemn and
+grown old with care: children without childhood. With Donatello all is
+different. His greatness and title to fame largely rest upon his
+typical childhood: his sculpture bears eloquent witness to the closest
+observation of all its varying and changeful moods. Others have
+excelled in this or that interpretation of child-life: Greuze with his
+sentimentalism, the Dutch painters with their stolidity. In Velasquez
+every child is the scion of some Royal House, in Murillo they are all
+beggars. They are too often stupid in Michelozzo: in Andrea della
+Robbia they are always sweet and winsome; Pigalle's children know too
+much. Donatello alone grasped the whole psychology. He watched the
+coming generation, and foresaw all that it might portend: tragedy and
+comedy, labour and sorrow, work and play--plenty of play; and every
+problem of life is reflected and made younger by his chisel. How far
+the sculptors of the fifteenth century employed classical ideas is not
+easily determined. There was, however, one classical form which was
+widely used, namely, the flying _putti_ holding a wreath or
+coat-of-arms between them: we find it on the frieze of the St. Louis
+niche, and it is repeated on Judith's dress. The wreath or garland, of
+which the Greeks were so fond, became a favourite motive for the
+Renaissance mantelpiece. The classical _amoretti_, of which many
+versions in bronze existed, were also frequently copied. But there was
+one radical difference between the children of antiquity and those of
+the Renaissance. Though children were introduced on to classical
+sarcophagi and so forth, it is impossible to say that it was for the
+sake of their youth. There are genii in plenty; and in the imps which
+swarm over the emblematic figure of the Nile in the Vatican the
+sculptor shows no love or respect for childhood. There is no child on
+the Parthenon frieze, excepting a Cupid, who has really no claim to be
+reckoned as such. Donatello could not have made a relief 150 yards
+long without introducing children, whether their presence were
+justified or not. He would probably have overcrowded the composition
+with their young forms. Whether right or wrong, he uses them
+arbitrarily, as simple specimens of pure joyous childhood. Antique
+sculpture, too, had its arbitrary and conventional adjuncts--the Satyr
+and the Bacchic attendants; but how dreary that the vacant spaces in a
+relief should have to rely upon what is half-human or offensive--the
+avowedly inhuman gargoyles of the thirteenth century are infinitely to
+be preferred. Donatello was possessed by the sheer love of childhood:
+with him they are boys, _fanciulli ignudi_,[141] very human boys,
+which, though winged and stationed on a font, were boys first and
+angels afterwards. And he overcame the immense technical difficulties
+which childhood presents. The model is restive and the form is
+immature, the softness of nature has to be rendered in the hardest
+material. The lines are inconsequent, and the limbs do not yet show
+the muscles on which plastic art can usually depend. Nothing requires
+more deftness than to give elasticity to a form which has no external
+sign of vigour. So many sculptors failed to master this initial
+difficulty--Verrocchio, for instance. He made the bronze fountain in
+the Palazzo Pubblico, and an equally fine statue of similar dimensions
+now belonging to M. Gustave Dreyfus. Both have vivacity and movement,
+but both have also a fat stubby appearance; the flesh has the
+consistency of pudding, and though soft and velvety in surface is
+without the inner meaning of the children on the Cantoria. In this
+work, where Donatello has carved some three dozen children, we have a
+series of instantaneous photographs. Nobody else had enough knowledge
+or courage to make rigid bars of children's legs: here they swing on
+pivots from the hip-joint. It is the true picture of life, rendered
+with superlative skill and _bravura_. But Donatello's children serve a
+purpose, if only that of decoration. At Padua they form a little
+orchestra to accompany the duets. The singing angels there are among
+the most charming of the company; and whether intentionally or not,
+they give the impression of having forgotten the time, or of being a
+little puzzled by the music-book! But Donatello fails to express the
+exquisite modulation by which Luca della Robbia almost gives actual
+sound to his Cantoria: where one sees the swelling throat, the
+inflated lungs, the effort of the higher notes, and the voice falling
+to reach those which are deep. Luca's children, it is true, are bigger
+and older; but in this respect he was unsurpassed, even by painters
+whose medium should have placed them beyond rivalry in such a respect.
+The choir of Piero della Francesca's Nativity is so well contrived
+that one can distinguish the alto from the tenor; but Luca was able to
+do even more. He gives cadence, rhythm and expression where others did
+no more than represent the voice. Donatello's dancing children are
+more important than his musicians. He was able to give free vein to
+his fancy. We have flights of uncontrollable children, romping and
+rioting, dashing to and fro, playing and laughing as they pass about
+garlands among them. And their self-reliance is worth noticing;
+they are absorbed in their dance--children dance rather heavily--and
+only a few of them look outwards. There is no self-consciousness, no
+appeal to the spectator: they are immensely busy, and enjoy life to
+the full. Then we have a more demure type of childhood: they are
+shield-bearers on the Gattamelata monument, or occupy an analogous
+position on the lower part of the Cantoria. Others hold the cartel or
+epitaph as on the Coscia tomb. And again Donatello introduces children
+as pure decoration. The triangular base of the Judith, for instance,
+and the bronze capital which supports the Prato pulpit, have childhood
+for their sole motive. He smuggles children on to the croziers of St.
+Louis and Bishop Pecci: they are the supporters of Gattamelata's
+saddle: they decorate the vestments of San Daniele. They share the
+tragedy of the Pieta, and we have them in his reliefs. The entire
+frieze of the pulpits of San Lorenzo is simply one long row of
+children--some two hundred in all.
+
+[Footnote 141: Contract with Domopera of Siena. Payment for wax, for
+making the bronze figures for the Baptistery. 16, iv. 1428. Lusini,
+38.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+CANTORIA (DETAIL)
+
+FLORENCE]
+
+
+[Sidenote: The Cantoria.]
+
+The Cantoria, or organ-loft, of the Florentine Cathedral was ordered
+soon after Donatello's return from Rome, and was erected about 1441.
+It was placed over one of the Sacristy doors, corresponding in
+position with Luca della Robbia's cantoria on the opposite side of the
+choir. The ill-fortune which dispersed the Paduan altar and
+Donatello's work for the facade likewise caused the removal of this
+gallery. Late in the seventeenth century a royal marriage was
+solemnised, for which an orchestra of unusual numbers was required,
+and the two _cantorie_ were removed as inadequate. The large brackets
+remained _in situ_ for some time, but were afterwards taken away also.
+The two galleries have now been re-erected at either end of the chief
+room of the Opera del Duomo. But the size of the galleries is
+considerable, and they occupy so much of the end walls to which they
+are fixed, that it is impossible to see the sides or outer panels of
+either cantoria. In the case of Luca's gallery, the side panels have
+been replaced by facsimiles, and the originals can be minutely
+examined, being only four or five feet from the ground, and very
+suggestive they are. As the side panels of Donatello's gallery are
+equally invisible in their present position they might also be brought
+down to the eye level. Comparison with Luca's work would then be still
+more simplified. But though in a trying light, and too low down, the
+sculpture shows that it was Donatello who gave the more careful
+attention to the conditions under which the work would be seen. The
+delicacy and grace of Luca's choir make Donatello's boys look coarse
+and rough-hewn. But in the dim Cathedral, where Donatello's children
+would appear bold and vivacious, the others would look insipid and
+weak. Moreover, the lower tier of Luca's panels beneath the projection
+and enclosed by the broad brackets, would have been in such a subdued
+light that some of the heads in low-relief would have been scarcely
+emphasised at all. In reconstructing Donatello's gallery an error has
+been made by which a long band of mosaic runs along the whole length
+of the relief, above the children's heads. M. Reymond has pointed out
+that the ground level should have been raised in order to prevent what
+Donatello would undoubtedly have avoided, namely, a blank and
+meaningless stretch of mosaic.[142] M. Reymond's brilliant
+suggestion about a similar point in regard to the other cantoria, a
+criticism which has been verified in a remarkable manner, entitles his
+suggestion to great weight. The angles of the cantoria where the side
+panels join the main relief lack finish: something like the pilasters
+which cover the angles of the Judith base are required. As for the
+design, the gallery made by Luca della Robbia has an advantage over
+Donatello's in that the figures are not placed behind a row of
+columns. There is something tantalising in the fact that the most
+boisterous and roguish of all the troop is concealed by a pillar of
+spangled white and gold. These pillars were perhaps needed to break
+the long line of the relief: but they have no such significance, as,
+for instance, the row of pillars on the Saltarello tomb,[143] behind
+which the Bishop's effigy lies--a barrier between the living and the
+dead, across which the attendant angels can drop the curtain.
+Donatello's gallery is, perhaps, over-decorated. There is less gilding
+now than formerly, and the complex ornament does not materially
+interfere with the broad features of the design: but a little more
+reserve would not have been amiss.
+
+[Footnote 142: Reymond, I., p. 107.]
+
+[Footnote 143: By Nino Pisano, in Sta. Caterina, Pisa.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+THE PRATO PULPIT]
+
+
+[Sidenote: The Prato Pulpit.]
+
+The second work in which Donatello took his inspiration exclusively
+from childhood is at Prato. It is an external pulpit, fixed at the
+southern angle of the Cathedral facade, and employed to display the
+most famous relic possessed by the town, namely, the girdle of the
+Virgin. The first contract was made as early as 1428 with Donatello
+and Michelozzo, _industriosi maestri_, to whom careful measurements
+were given.[144] The sculptors promised to finish the work by
+September 1, 1429. Five years later, there was still no pulpit, and
+having vainly invoked the aid of Cosimo, they finally sent to Rome,
+where Donatello had by then gone, and a revised contract was made with
+the industrious sculptors, though Michelozzo is not mentioned by
+name.[145] The work was finished in about four years, and within three
+weeks of signing the new contract one of the reliefs was completed; it
+may, of course, have been already begun. Its success was immediate.
+"All say with one accord that never has such a work of art been seen
+before;" and the writer of the entertaining letter from which this
+eulogy is quoted goes on to say that Donatello is of good disposition;
+that such men are not found every day, and that he had better be
+encouraged by a little money.[146] The Prato pulpit has seven marble
+reliefs on mosaic grounds, separated by twin pilasters: there are
+thirty-two children in all.[147] It is a most attractive work,
+cleverly placed against the decorous little Cathedral and not
+surrounded by sculpture of the first order with which to make
+invidious comparisons. But beside the cantoria it is almost
+insignificant. The Prato children dance too, but without the perennial
+spring; they have plenty of movement, but seem apt to stumble. They do
+not scamper along with the feverish enthusiasm of the other children:
+they must get very tired. Moreover, several of the panels are
+confused. They are, of course, crowded, for Donatello liked crowds,
+especially for his children; but his crowds were well marshalled and
+the individual figures which composed them were not allowed to
+suffer by their surroundings anatomically. The Prato children belong
+to a chubby and robust type. They have a tendency to short necks and
+unduly big heads which sink on to the torso. Michelozzo never grasped
+the spirit of childhood; those at Montepulciano were not a success,
+and he was largely responsible for the Prato Pulpit; it has been
+suggested that Simone Ferrucci also assisted. Certainly it would be
+Michelozzo's idea to divide the frieze into compartments, which
+interrupt the continuity of the relief and necessitate fourteen
+terminal points instead of four on the cantoria. We can also detect
+Michelozzo's hand in the rather stiff and professional details of the
+architecture. But he seems to have also executed some of the reliefs,
+even if the general idea from which he worked should have been
+Donatello's. Thus the panel most remote from the cathedral facade is
+involved in design and faulty in execution; and the children's
+expression is aimless and dull. But it must not be inferred that the
+Prato Pulpit is in any sense a failure, or even displeasing. Its
+popularity is thoroughly well deserved. The test of comparison with
+the cantoria is most searching, too severe indeed, for such a high
+standard could not be maintained. But if the _capo d'opera_ of
+sculptured child-life be excluded, the Prato Pulpit will always retain
+a well-deserved popularity. Two further points should be noted. Below
+the pulpit is a bronze relief, shaped like the capital of a large
+column. There should be two of them, and it used to be believed that
+the second was destroyed in 1512 when the Spanish troops sacked the
+town. But the story is apocryphal, for the documents show that payment
+was only made for one relief, and that Michelozzo was entirely
+responsible for the casting. It is a most decorative panel, the
+motive being ribands and wreaths, among which there are eleven winged
+_putti_ of different sizes. At the top of the capital is a big baby in
+high-relief peeping over the edge; an exquisite fancy reminding us of
+the two inquisitive children clambering over the heraldic shields on
+the Pecci monument. On the base of the capital are two other _putti_
+of equal charm, winged like the rest, and sedately looking outwards in
+either direction. The volutes of the bronze are decorated with other
+figures, less boyish and almost suggesting the touch of Ghiberti, who,
+it may be remarked, was appointed assessor of the contract by the
+Wardens of the Girdle. Finally, one may inquire what Donatello's
+motive can have been in designing the frieze: what may be the relation
+of the sculpture to the precious Girdle. No conclusive answer can be
+given. In the organ-loft of Luca della Robbia the object was to show
+praise of the Lord "with all kinds of instruments"[148]: Donatello's
+was to "let them praise his name in the dance."[149] At Prato we have
+dance and music for no apparent reason, except perhaps as a display of
+joyfulness appropriate to the great festival of exhibiting the
+_Cingolo_. It is possible that the curious little reliquary in which
+the Girdle is actually preserved may supply the clue to some legend or
+tradition connected with the relic. This _cofanetto_ was remodelled
+about this time, and the primitive motive and design may have been
+impaired. But we have a series of winged _putti_ made of ivory, who
+dance and play about much as those on the pulpit, but amongst whom one
+can see scraps of rope, signifying the Girdle, from which they derive
+their incentive to joy and vivacity.
+
+[Footnote 144: 14, vii. 1428.]
+
+[Footnote 145: 27, v. 1434.]
+
+[Footnote 146: Letter from Matteo degli Orghani, printed with the
+other documents in C. Guasti, opere, iv. 463-477.]
+
+[Footnote 147: A pair of terra-cotta variants of these panels are
+preserved in the Wallace Collection at Hertford House.]
+
+[Footnote 148: Psalm cl.]
+
+[Footnote 149: Psalm cxlix.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+BRONZE AMORINO
+
+BARGELLO]
+
+
+[Sidenote: Other Children by Donatello.]
+
+There are six _putti_ above the Annunciation in Santa Croce. They are
+made of terra-cotta, while the rest of the work is in stone, and
+designed in such a way that the children are superfluous. They are,
+however, undoubtedly by Donatello, and may have been added as an
+afterthought. Two stand on either side of the curved tympanum,
+clinging to each other as they look downwards, and afraid of falling
+over the steep precipice. Their attitude is shy and timid, as Leonardo
+said was advisable when making little children standing still.[150]
+Though unnecessary, their presence on the relief is justified by
+Donatello's skill and humour. In the great reliefs at Padua, Siena and
+Lille he introduces them without any specific object, though he
+contrives that they shall show fear or surprise in response to the
+incident portrayed. It is puzzling to know what the bronze boy in the
+Bargello should be called. Perseus, Mercury, Cupid, Allegory and
+Amorino have been suggested: he combines attributes of them all
+together with the budding tail of a faun, and the _gambali_, the
+buskin-trouser of the Tuscan peasant[151]--"_vestito in un certo modo
+bizzarro_" as Vasari says. Cinelli thought it classical, and it
+resembles an undoubted antique in the Louvre. Donatello has clearly
+taken classical motives; the winged feet and the serpents twining
+between them are not Renaissance in form or idea. But the statue
+itself is closely akin to the Cantoria children, but being in bronze
+shows a higher polish, and, moreover, is treated in a less summary
+fashion. It is a brilliant piece of bronze: colour, cast and
+chiselling are alike admirable, and there is a vibration in the
+movement as the saucy little fellow looks up laughing, having
+presumably just shot off an arrow; or possibly he has been twanging a
+wire drawn tightly between the fingers. It throws much light on the
+bronze boys at Padua made ten or fifteen years later. This Florentine
+boy shows how completely Donatello, perhaps with the assistance of a
+caster, could render his meaning in bronze. In two or three cases at
+Padua the work is clumsy and slipshod, showing how he allowed his
+assistants to take liberties which he would never have countenanced in
+work finished by his own hands. The Bargello has another Amorino of
+bronze, a nude winged boy standing on a cockleshell, and just about to
+fly away; quite a pleasing statuette, and executed with skill except
+as regards the extremities of the fingers, where the bronze has
+failed. It resembles Donatello's _putti_ who play and dance on the
+corners of the tabernacle of Quercia's font at Siena; but the base of
+this figure differs from that of the other four. A fifth of the
+Sienese _putti_ was recently bought in London for the Berlin Gallery,
+an invaluable acquisition to that growing collection.[152] This group,
+however, is less important than the wonderful pair of bronze _putti_
+belonging to Madame Andre.[153] These are much larger: they carry
+candle-sockets and are lightly draped with a few ribands and garlands:
+judging from the way they are huddled up, it is possible that they
+formed part of a larger work. They appear to be a good deal later than
+the Cantoria, though they do not show any technical superiority to
+the large Bargello Amorino; but they have not quite got that freshness
+which cannot be dissociated from work made between 1433 and 1440.
+Madame Andre has another superb Donatello--a marble boy: his attitude
+is unbecoming, but the modelling of this admirable statue--the urchin
+is nearly life-sized--is almost unequalled. There is a similar figure
+in the Louvre made by some imitator. It need hardly be said that
+Donatello's children, especially the free-standing bronze statuettes,
+were widely copied. According to Vasari, Donatello designed the wooden
+_putti_ carrying garlands in the new Sacristy of the Duomo. There are
+fourteen of these boys, and they overstep the cornice like
+Michelozzo's angels in the Capella Portinari at Milan. Donatello may
+have given the sketch for one or two, but there is a lack of
+intelligence about them, besides a certain monotony. Moreover, it is
+improbable that Donatello would have designed garlands so bulky that
+they threaten to push the little boys who carry them off the cornice.
+In spite of its faults, this frieze is charming. The _naivete_ of the
+quattrocento often invests its errors with attraction. It would be
+wearisome to catalogue the scores of bronze children which show
+undoubted imitation of Donatello. They exist in every great
+collection, one of exceptional merit being in London.[154] A large
+school sprang into existence, chiefly in Padua and Venice, whence it
+spread all over Northern Italy, and produced any number of bronze
+works which recall one or other feature of Donatello's children. But
+they never approached Donatello. Their work was a sort of
+_minuteria_--table ornaments, plaquettes, inkstands, and the ordinary
+decoration of a sitting-room. Monumental childhood almost ceased to
+exist in Italian plastic art, and, after Michael Angelo, degenerated
+into stout and prosperous children lolling in clouds and diving among
+the draperies which adorned the later altars and tombs. Their didactic
+value was soon lost to Italian sculpture, and with it went their
+inherent grace and significance. Donatello was among the first as he
+was among the last seriously to apply to sculpture the words _ex ore
+infantium perfecisti laudem_.
+
+[Footnote 150: "Trattato della Pintura," Richter, i. 291.]
+
+[Footnote 151: This open form of trouser, of which one sees a variant
+on the Martelli David, was also classical. The Athis or Phrygian
+shepherd usually wears something of the kind.]
+
+[Footnote 152: Very similar classical types are in the British Museum,
+No. 1147; and the Eros springing forward in the Forman Collection
+(dispersed in 1899) is almost identical.]
+
+[Footnote 153: From the Piot Collection. Figured in "Gaz. des Beaux
+Arts," 1890, iii. 410.]
+
+[Footnote 154: Victoria and Albert Museum, No. 475, 1864. A winged boy
+carrying a dolphin.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SAN GIOVANNINO
+
+FAENZA MUSEUM]
+
+
+[Sidenote: Boys' Busts.]
+
+It is inexplicable that modern criticism should withdraw from
+Donatello all the free-standing or portrait-busts of boys, while going
+to the opposite extreme in ascribing to him an enormous number of
+Madonnas. We know that Donatello was passionately fond of carving
+children on his reliefs: we also know that only two versions of the
+Madonna can be really authenticated as his work. Why should Donatello
+have made no busts of boys when it is not denied that he was
+responsible for something like one hundred boys in full-length; and
+how does it come about that scores of Madonnas should be attributed to
+him when we only have the record of a few? There can be no doubt that
+Donatello would not have rested content with children in relief or in
+miniature. The very preparation of his numerous works in this category
+must have led him to make busts as well, quite apart from his own
+inclinations. The stylistic method of argument should not be abused:
+if driven to a strict and logical conclusion it becomes misleading. It
+ignores the human element in the artist. It pays no attention to his
+desire to vary the nature of his work or to make experiments. It
+eliminates the likelihood of forms which differ from the customary
+type, and it makes no allowance for possibilities or probabilities,
+least of all for mistakes. It is purely on stylistic grounds that each
+bust connected with Donatello's name has been withdrawn from the list
+of his works. A fashion had grown up to ascribe to Donatello all that
+delightful group of marble busts now scattered over Europe. Numbers
+were obviously the work of competent but later men: Rossellino,
+Desiderio, Mino da Fiesole, and so forth. There remain others which
+are more doubtful, but which in one detail or another are alleged to
+be un-Donatellesque, and have therefore been fearlessly attributed to
+other sculptors from whose authenticated work they often dissent.
+That, however, was immaterial, the primary object being to disinherit
+Donatello without much thought as to his lawful successor in title. A
+critical discrimination between these busts was an admitted need;
+everything of the kind had been conventionally ascribed to Donatello
+just as Luca della Robbia was held responsible for every bit of glazed
+terra-cotta. These ascriptions to the most fashionable and lucrative
+names had become conventional, and had to be destroyed. Invaluable
+service has been rendered by reducing the number given to Donatello
+and adding to the number properly ascribed to others. But the process
+has gone too far. The difficulties are, of course, great, and
+stylistic data offer the only starting-point; but as these data are
+readily found by comparison with Donatello's accepted work, it ought
+to be possible, on the fair and natural assumption that Donatello may
+well have made such busts, to determine the authenticity of a certain
+proportion. In any case, it would be less difficult to prove that
+Donatello did, than that he did not make statues of this description.
+Among the busts of very young boys which cannot be assigned to
+Donatello are those belonging to Herr Benda in Vienna, and to M.G.
+Dreyfus in Paris. Nothing can exceed their softness and delicacy of
+modelling, and they are among the most winning statuettes in the
+world. They were frequently copied by Desiderio and his _entourage_.
+One of the little heads in the Vanchettoni Chapel at Florence is
+likewise animated by a similar exemplar. There is something girlish
+about them, a pursuit of prettiness which is no doubt the source of
+their singular attraction, and which invests them with an irresistible
+charm. The San Giovannino, also in the Vanchettoni, is a more concrete
+version of childhood, but is by the same hand as its fellow. These
+four busts fail to characterise the child's head; not indeed that
+characterisation was needed to make an enchanting work, but that
+Donatello's children elsewhere show more of the individual touches of
+the master and personal notes of the child. The Duke of Westminster
+possesses a life-sized head of a boy,[155] which is palpably by
+Donatello, though no document exists to prove it. We have all the
+essentials of Donatello's modelling; the handling is uncompromising
+and firm; the child is treated more like a portrait. Indeed, many of
+these children's busts, even when symbolised by St. John's rough
+tunic, were avowed portraits--the Martelli San Giovannino, for
+instance, which from Vasari's time has been ascribed, and probably
+with justice, to Donatello. This little head enjoys a reputation which
+it scarcely deserves. The expression is dull, the hair grows so low
+that scarcely any forehead is visible; the cheeks bulge out, and
+the mouth is too small. We have, in fact, a lifelike presentment of
+some boy, perhaps of the Martelli family, showing him at his least
+prepossessing moment, when the bloom of childhood has passed away, and
+before the lines have been fined down and merged into the stronger
+contours of youth. Desiderio would have improved Nature by modifying
+the boy's features, and we should have had a work comparable to those
+previously mentioned. But Donatello (and perhaps his patrons)
+preferred a less idealised version. The Martelli figure, and a most
+important boy's bust belonging to Frau Hainauer in Berlin, are now
+usually ascribed to Rossellino. But his St. John in the Bargello,
+where all the features are softened down, and his authenticated work
+in San Miniato and elsewhere, make the attribution open to question.
+The St. John at Faenza is also denied to be by Donatello; one of the
+critics who is quite certain on the point believes the bust to be made
+of wood! These problems cannot be settled by spending ten _lire_ on
+photographs. The bust at Faenza,[156] though a faithful portrait, is
+one of the most romantic specimens of childhood depicted by Donatello.
+Admirably modelled, and with a surface like ivory, it gives the
+intimate characteristics of the model. Nothing has been embellished or
+suppressed, if we may judge from the absolute sequence and
+correspondence of all the features. The flat head, the projecting
+mouth, and the much-curved nose, are sure signs of accurate and
+painstaking observation; they combine to give it a personal note which
+adds much to its abstract merits. The St. John in the Louvre[157] is
+also a portrait, but of an older boy, in whom the first signs of
+maturity are faintly indicated: lines on the forehead, a stronger
+neck, and a harder accentuation of nose and mouth. But he is still a
+boy, though he will soon go forth into the wilderness. By the side of
+the Faenza Giovannino he would appear rough; beside the Vienna and
+Dreyfus statuettes he would be harsh and unsympathetic. He has no
+smiling countenance, no fascinating twinkle of the eye: the type has
+not been generalised as in Desiderio's work, and it therefore lacks
+those qualities, the very absence of which makes it most
+Donatellesque. The fundamental distinction between Donatello and the
+later masters can be emphasised by comparing this bust with another
+group of terra-cotta heads, which are analogous, although the boy in
+them is older. One in the Berlin Gallery[158] has been painted, and no
+final judgment can be passed until the more recent accretions of
+oil-colour have been removed. But the whole conception is weakly and
+vapid. The brown eyes, the nicely rouged cheeks, the mincing look, and
+the affectation of the pose make a genteel page-boy of him, and all
+suggest a later imitation--about 1470 perhaps--and contemporary with
+the somewhat analogous though better rendering in the Louvre.[159] The
+version belonging to M. Dreyfus differs in certain details from the
+Berlin bust, and it has been fortunate in escaping careless painting;
+it has more vigour and virility. One remark may be made about the
+Faenza, Grosvenor House, Martelli, Hainauer and Louvre busts: they all
+show a peculiarity in the treatment of the hair. It is bunched
+together and drawn back from behind the ears, and is gathered on the
+nape of the neck, down which it seems to curl. This is precisely the
+treatment observed in the Mandorla relief, the Martelli David, the
+young Gattamelata, and the Amorino in the Bargello: in a lesser degree
+it is observable in the Isaac and the Siena Virtues. The point is not
+one upon which stress could properly be laid, but it is a further
+point of contact between Donatello's accepted work and some few out of
+the numerous boys' busts which he must inevitably have made.
+
+[Footnote 155: In Grosvenor House. Bronze; generally known as "The
+Laughing Boy."]
+
+[Footnote 156: Its proportion is impaired by the basal drapery, which
+was grafted to the statue at a later date. This bust belonged to Sabba
+da Castiglione, who was very proud of it. He was born within twenty
+years of Donatello's death.]
+
+[Footnote 157: No. 383. Marble. Goupil Bequest.]
+
+[Footnote 158: Stucco, No. 38A. _Cf._ also one belonging to
+Herr Richard von Kaufmann, Berlin.]
+
+[Footnote 159: No. 1274, St. John, Florentine School, a painting.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+NICCOLO DA UZZANO
+
+BARGELLO, FLORENCE]
+
+
+[Sidenote: Niccolo da Uzzano and Polychromacy.]
+
+The bust of Niccolo da Uzzano has gained its widespread popularity
+from its least genuine feature--namely, the paint with which it is
+disfigured. The daubs of colour give it a fictitious importance, an
+actual realism which invests it with the illusion of living flesh and
+blood. This is all the more unfortunate, as the bust is a remarkable
+work, and does not gain by being made into a "speaking likeness." Its
+merits can best be appreciated in a cast, where the form is reproduced
+without the dubious embellishments of later times. Niccolo was a
+high-minded patrician, an implacable opponent of the Medici, and a
+warm friend of higher education: it is also of interest that he should
+have been an executor of the will of John XXIII. He was born in 1359,
+and died in 1432. The bust is made of terra-cotta, and shows a man of
+sixty-five or so, and would therefore be coeval with the later
+Campanile prophets (but nothing beyond old tradition can be accepted
+as authority for the nomenclature). The modelling of the head is quite
+masterly. Niccolo is looking rather to the left; his keen and
+hawklike countenance, and his piercing eyes, deep set and quivering
+within pendulous eyelids, give a sense of invincible logic and
+penetration. The laconic, matter-of-fact mouth, and the resolute jaw
+add strength and courage to the physiognomy: the nose and its
+disdainful nostrils are those of the haughty optimate. The head is,
+however, less fine than the face: a skull of rather common
+proportions, and a sloping though broad forehead are its marked
+features. Donatello has given him an ugly ear; Niccolo's ear was,
+therefore, ugly, and the throat is swollen. The shoulders are covered
+with a thick piece of drapery, leaving the throat and upper part of
+the breast bare. Such is the impression conveyed by Niccolo in the
+cast. In the Bargello the colouring modifies what the form itself was
+meant to suggest. The smallest error of a paint-brush, the slightest
+deepening of a pigment, are quite sufficient to make radical
+alterations in the sentiment of a statue. When applied to plastic art,
+colour is potent enough to change the essential purpose of the
+sculptor. The chief reason why the terra-cotta bust of St. John at
+Berlin looks flippant and fastidious is, that the painter was
+indiscreet in drawing the eyebrows and lips: owing to his
+carelessness, they do not coincide with the features indicated by the
+modeller, and the entire character of the boy is consequently changed.
+The question of polychromacy in Donatello's sculpture is of great
+importance, and requires some notice. It is no longer denied that
+classical statues were frequently coloured. The Parthenon frieze and
+many celebrated monuments of antiquity were picked out with colour.
+Others received some kind of polish, _circumlitio_,--like the dark
+varnish which is on the face of the Coscia effigy. Again, the use
+of ivory, precious stones, and metal was common. The lips and eyeballs
+were frequently overlaid by thin slabs of silver.[160] The origin of
+polychromacy, doubtless, dates back to the most remote ages. It was
+first needed to conceal imperfections, and to supply what the carver
+felt his inability to render. It connotes insufficiency in the form.
+The sculptor, of all people, ought to be able to see colour in the
+uncoloured stone: he ought to realise its warmth, texture and shades.
+Nobody has any right to complain that a statue is uncoloured: the
+substance and quality of the marble is in itself pleasing, but
+relative truth is all that is required in a portrait-bust. If one
+wants to know the colour of a man's eye, or the precise tint of his
+complexion, the painter's art should be invoked, but only where its
+gradations and subtleties can be fully rendered--on the canvas.
+Polychromacy is a mixture of two arts: it is one art trying to steal a
+march upon another art by producing illusion. That is why the
+pantaloon paints his face, and why the audience laughs: the spirit
+which tolerates painted statues ends by adorning them with necklaces.
+Donatello, whose sense of light and shade was acutely developed, least
+required the adventitious aid of colour. Polychromacy was to a certain
+extent justified on terra-cotta, to soften the toneless colour of the
+clay, and on wood it served a purpose in hiding the cracks of a
+brittle substance. Nowadays it is happily no more than a _refugium
+peccatorum_. There is, however, no doubt that in Donatello's day it
+was widely used, and used by Donatello himself. It began in actual
+need, then became a convention, and long survived: _il n'y a rien de
+plus respectable qu'un ancien abus_. During the fifteenth century
+statues were coloured during the highest proficiency of sculpture:
+buildings were painted,[161] and bronze was habitually gilded.
+Donatello's Coscia, and his work at Siena and Padua, still show signs
+of it. The St. Mark was coloured, and the Cantoria was much more
+brilliant with gold than it is now. The St. Luke, which was removed
+from Or San Michele,[162] has long been protected from the weather,
+and still shows traces of a rich brocade decorated with coloured
+lines. The Christ of Piero Tedesco on the facade of the Cathedral had
+glass eyes. Roland and Oliver, two wonderful creations on the facade
+of the Cathedral at Verona, had blue enamel eyes. The Apostles in the
+Church of San Zeno, in the same city, are exceptionally interesting,
+being one of the rare cases where the genuine colouring is visible,
+although it has been much worn. The early colourists used
+tempera;[163] as this perished, oil paint was substituted, and there
+are very few painted statues extant on which restoration has never
+taken place, and consequently where the original colour of the
+sculptor is intact. With repainting, the original artist disappears:
+even if the work is cast, the delicate tints of the first colouring
+must be impaired, and repainting follows. Thus the Niccolo da Uzzano
+is covered with inferior oil colour, and only in a few details can the
+primitive tempera be detected. The later addition creates the
+fictitious interest, and immensely reduces the real importance of this
+masterly production.
+
+[Footnote 160: _Cf._ Naples Museum, No. 5592.]
+
+[Footnote 161: _Cf._ drawings of facades in Vettorio Ghiberti's
+Note-book.]
+
+[Footnote 162: Bargello Cortile, No. 3, by Niccolo di Piero.]
+
+[Footnote 163: Borghini, in 1586, gave a curious recipe for colouring
+marble according to antique rules. Florentine ed. 1730, p. 123.]
+
+       *       *       *       *       *
+
+[Sidenote: Portrait-busts.]
+
+It is a singular fact admitting of no ready explanation that
+portrait-busts, so common in Tuscany, should scarcely have existed in
+Venice. Florence was their native home. From the time of Donatello
+every sculptor of note was responsible for one or more, while certain
+artists made it a regular occupation. Luca della Robbia, however, one
+of the most consummate sculptors of his day, made no portrait except
+the effigy of Bishop Federighi. There are one or two small heads in
+the Bargello, but they scarcely come within the category of studied
+portraits, while the heads on the bronze doors of the Duomo, though
+modelled from living people, are small and purely decorative in
+purpose. Glazed terra-cotta was a material so admirably adapted to
+showing the refinements of feature and character, as we can see in
+both Luca's and Andrea's work, that this absence is all the more
+surprising. At the same time, numerous as portrait-statues were in
+Tuscany, they do not compare in numbers with those executed in
+classical times. In the fifteenth century the statue was a work of
+art, and its actual carving was an integral part of the art: so the
+replica in sculpture was rare. But under the Roman Empire statues of
+the same man were erected in scores and hundreds in the same city;
+their multiplication became a profession in itself, and a large class
+of artisans must have grown up, eternally copying and recopying
+portrait-busts and giving them the haunting dulness of mechanical
+reproductions. The artist himself was more interested in the torso
+than the head; some artists came to be regarded as specialists in
+their own lines; Calcosthenes for instance, who made athletes, and
+Apollodorus, who made philosophers. Donatello made several
+portrait-busts, and two or three others, such as the head of St.
+Laurence, and the so-called St. Cecilia in London, which are portraits
+in all essentials. These two are idealised heads, both made late in
+life, judging from a certain sketchiness, in no way detracting from
+their sterling qualities, but indicative of Donatello's fluency as an
+oldish man. Both are in terra-cotta. The St. Laurence is placed on the
+top of one of the great chests in the Sacristy of San Lorenzo, too
+high above the eye-level.[164] It has no connection with the
+decorative work carried out there by the master, and it is difficult
+to see how it could have been meant to fit in with the altar. However,
+the authorship of Donatello is beyond question. St. Laurence is almost
+a boy, wearing his deacon's vestments. His head is raised up as if he
+had just heard something and were about to reply. The eager and
+inquiring look is most happily shown. The sentiment of this bust is
+quite out of the common; it has an engaging expression which is rare
+in the sculpture of all ages, differing from what is called animation
+or vivacity. These also may be found in the St. Laurence, where the
+exact but indescribable movement of the face as he is about to speak
+is rendered with immense skill. The bust, though modelled with a free
+hand, is not carelessly executed; everything is in concord, and the
+treatment of the clay shows exceptional dexterity, more so, at any
+rate, than is the case in the St. Cecilia.[165] The name given to this
+bust is traditional, there being no symbol to connect it with her; but
+it suggests at least that the work was not meant purely as a portrait.
+In technique and conception it is not quite equal to the St.
+Laurence, but it is none the less a work of rare merit, and being
+Donatello's only clay portrait in this country has a special value to
+us. The Saint looks downwards, pensive, quiet and modest, the
+embodiment of tranquillity and calm. There is no movement or effort
+about her, neither does the work show any effort on the part of the
+sculptor. It is equable in a very marked degree; the smooth regular
+features are simple and well defined, and the hair, brushed back from
+the forehead, has a softness which could scarcely be obtained in
+marble. The bust known as Louis III. of Gonzaga is interesting in
+another way: it is bronze and has been left in an unfinished state.
+Two versions of it exist--one in Berlin, the other in Paris, belonging
+to Madame Andre, the latter being perhaps the less ugly of the two. It
+used to be known as Alfonso of Naples, on the assumption that
+Donatello must surely have made a bust of that prince. This theory,
+however, had to be abandoned, and it is now held to be a portrait of
+the Gonzaga as being a closer resemblance to him than to Alfonso, or
+Giovanni Tornabuoni. Mantegna's portrait of Gonzaga, though made
+later, shows a rather different type, less displeasing than the
+bronze. In the bust we have what is probably the portrait of a coarse
+and clumsy person; he is petulant in the mouth, weak in the chin,
+gross in the thick and heavy jaw. The bronze is extremely rough, and
+shows no signs of the nervous and individual touches which we find in
+Donatello's terra-cotta. Both the busts are unfinished; in the absence
+of chasing and hammering they are covered with bubbles and splotches
+of metal. They have, therefore, not passed through the hands of
+assistants, except so far as the actual casting of the bronze was
+concerned. During the process of casting the refinements of a clay
+model would often be impaired, but this shows no sign of having been
+made from an original of merit. The man is ugly, it is true; but the
+broad expanse of his lifeless cheek and the bulbous forehead would in
+real life have been explained and justified by bone and muscle, which
+the sculptor would have rendered in his clay study. The ugliness of
+the man, however, is unrelated to the qualities of the bust. Nobody
+could make the likeness of an ugly man better than Donatello; and
+since the faults of this portrait lie more in the modelling than in
+the sitter, one is driven to conclude that the bust must be entirely
+the work of an assistant, or else a failure of the master.
+
+[Footnote 164: It used to be over one of the doors, preserved _in una
+custodia_ which Richa thought ought to have been made of crystal, so
+precious was the bust.--"Ch. Fiorentine," 1758, v. 39.]
+
+[Footnote 165: Victoria and Albert Museum, No. 7585, 1861.]
+
+An effective counterpart to this bust exists in Berlin. It is also a
+life-sized bronze of an older man, and in many ways the likeness to
+the Gonzaga bust is notable. But wherever Gonzaga's features lack
+distinction this portrait shows fine qualities and good breeding.
+Nothing could better illustrate how minute are the plastic details
+which will revolutionise a countenance; how easily noble and handsome
+features can degenerate into what is sordid and vulgar. In this bust
+the chin, though receding, is far from weak; the lips are full but not
+sensual; the nose has the faint aquiline curve of distinction. There
+is benevolence in the eyes, meditation in the brow, dignity and
+reserve throughout the physiognomy: it is the portrait of a man who
+may be great, but who must be good. When a bronze _abozzo_ has to be
+finished the detail is added by hammering the metal, or incising it
+with gravers. Thus the bronze has to be reduced, it being seldom
+possible to enlarge it at any point. But the Gonzaga bust would
+require to be enlarged in several places to make it a lifelike head.
+In the case of the portrait just described, the metal was cast from a
+rough sketch which, in the first place, had the qualities of a living
+and consistent head, and which, in the second place, was modelled with
+sufficient amplitude to permit the entire head to be hammered, and the
+exquisite details to be added. Technically this head is almost
+unequalled among Donatello's bronze portraits; it is quite superb.
+Comparison with the Gattamelata at Padua is fair to neither. But it
+can be suitably compared with the bronze portrait in the Bargello
+generally known as the Young Gattamelata. The tomb of Giovanni
+Antonio, son of the famous Condottiere, is in the Santo at Padua. The
+effigy resembles this bust. Giovanni died young in 1456, and on the
+whole there is sufficient reason for considering it to be his
+portrait. On this assumption the bust can be dated about 1455. It is a
+happy combination of youth and maturity. On the one side we have the
+smooth features, still unmarked by frowns and furrows, the soft
+youthful texture of the skin, and something young in the thick curly
+hair. On the other hand, the character of the face shows perfect
+self-confidence in its best sense, as well as self-control and
+determination. A scrap of drapery covers the outer edge of either
+shoulder, and round his neck is a riband, at the end of which hangs a
+large oval gem, Cupid in a chariot making his horses gallop. Thus the
+throat and breast are bare, and show exceptionally good rendering of
+those thin bones and thick tendons which must always be a severe test
+to the modeller. As for the bronze itself, the surface is wrought with
+much care and finish, though the Berlin bust is unapproached in this
+respect. A few other portrait-busts remain to be noticed, which at
+one time or another have been attributed to Donatello. The Vecchio
+Barbuto, a thoroughly poor piece of work, and the Imperatore
+Romano[166] with its sadly disjointed and inconsequential appearance,
+are works which scarcely recall the touch of Donatello. The bust of a
+veiled lady is more interesting.[167] In the old Medici catalogue it
+used to be called _Donna velata incognita_, or _sacerdotessa velata_:
+and it was also called Annalena Malatesta: a suggestion has been
+recently made that it represents the Contessina de' Bardi, who married
+Cosimo de' Medici. Vasari certainly mentions a bronze bust of the
+Contessina by Donatello; but the family records would scarcely have
+called so important a person a nun or an _incognita_: moreover, she
+did not die till 1473, and as this bust is obviously made from a
+death-mask, it is clear that Donatello could not be its author. The
+custom of making death-masks is described by Polybius: in Donatello's
+time it became very popular, and Verrocchio became one of the foremost
+men in this branch of trade, which combined expedition and accuracy
+with cheapness. The wax models were coloured and used as chimney-piece
+decorations, _in ogni casa di Firenze_. The bronze bust of San Rossore
+in the Church of Santo Stefano at Pisa has been attributed to
+Donatello. From the _denunzia_ of 1427 we know that Donatello was
+occupied on a bust of the saint, and certain payments are
+recorded.[168] But beyond this fact there is no reason for assigning
+the Pisa bust to him. No explanation is offered of its removal from
+Florence to Pisa, and had we not known that Donatello made such a
+bust, this uncouth and slovenly thing would never have been ascribed
+to him. It is a reliquary, the crown of the head being detachable,
+and the head can also be separated from the bust. It is heavily gilded
+and minutely chased with the trivial work of some meagre craftsman;
+the eyes seem to have been enamelled. It is merely interesting as a
+school-piece. Speaking generally, Donatello's portraits are less
+important as busts than when they are portions of complete statues.
+Excluding Niccolo da Uzzano and the old man at Berlin, the heads he
+made cannot compare with the portraits of John XXIII., Brancacci,
+Habbakuk and St. Francis at Padua. Donatello helped to lay the
+foundations of the tremendous school of portraiture which flourished
+after his death, both in sculpture and painting; based, in certain
+parts of Italy, on the principles he had laid down, though thriving
+elsewhere upon independent lines; such, for instance, as the
+remarkable group of portraits ascribed to Laurana or Gagini. But at
+his best Donatello rarely approached the comprehensive powers of
+Michael Angelo. With the latter we see the whole corpus or entity made
+the vehicle of portraiture; everything is forced to combine, and to
+concentrate the [Greek: ethos] of the conception; everything is driven
+into harmony. Michael Angelo gives a portrait which is also typical,
+while preserving the real. Donatello seldom got beyond the real; but
+he went far towards realising the highest forms of portraiture, and
+two or three of his works, though differing in standard from the
+Brutus or the Penseroso, surpass anything achieved by his
+contemporaries.
+
+[Footnote 166: Bargello, No. 18, and No. 6, life-sized bronze.]
+
+[Footnote 167: Bargello, 17.]
+
+[Footnote 168: Gaye, i. 121.]
+
+       *       *       *       *       *
+
+[Sidenote: Relief-portraits.]
+
+A few portraits in relief require a word of notice. As a rule they are
+later in date, though they are often given to Donatello. It became
+fashionable to have one's portrait made as a Roman celebrity: an
+Antonine for instance; a Galba or a Faustina; or as some statesman,
+like Scipio or Caesar. Donatello was not responsible for these
+portraits, though several have been attributed to him. But he made one
+or two such reliefs, such as the little St. John in the Bargello which
+has already been described. The oval-topped portrait in the same
+collection, made of pietra serena--a clean-shaved man with longish
+hair and an aquiline nose, is wrongly ascribed to Donatello. There is
+a much more interesting portrait, two copies of which exist; one is in
+London, the other in Milan.[169] It is a relief-portrait of a woman in
+profile to the right; her neck and breast are bare, treated similarly
+to the magnificent bust in the Bargello (177). The two reliefs, of
+which the Milan copy is oval, while ours is rectangular with a
+circular top, are modelled with brilliant and exquisite _morbidezza_:
+the undercutting is square, so that the shadows assert themselves; the
+wavy hair is brushed back and retained by a fillet, leaving the neck
+and temples quite free. In many ways it is the marble version of those
+portraits attributed to Piero della Francesca in the National
+Gallery[170] and elsewhere, but treated so that while the painting is
+curious the marble is beautiful. These reliefs cannot be traced to
+Donatello, though they show his style and influence in several
+particulars. Madame Andre has a marble relief of an open-mouthed boy
+crowned with laurels, and with ribands waving behind. It is very close
+to the Piot St. John in the Louvre, and analogous in some respects to
+two other reliefs of great interest, both in Paris, belonging
+respectively to La Marquise Arconati-Visconti and to M. Gustave
+Dreyfus. These are marble reliefs of St. John and Christ facing each
+other, exquisite in their childhood. The former is round, the latter
+square. It is usual to ascribe them to Desiderio, and there are
+details which lead one to agree on the point. They show, however, that
+Donatello's influence was strong enough to survive his death in
+particulars which later men might well have ignored. And the two
+reliefs combine the strength of Donatello with the sweetness of
+Desiderio.
+
+[Footnote 169: Victoria and Albert Museum, No. 923, 1900, and Museo
+Archeologico, No. 1681, both marble.]
+
+[Footnote 170: Nos. 585 and 758.]
+
+       *       *       *       *       *
+
+[Sidenote: San Lorenzo.]
+
+Donatello must have completed the most important decorative work in
+the Sacristy of San Lorenzo by 1443. Brunellesco was the architect,
+and there were differences between them as to their respective spheres
+of work. Donatello made the bronze doors, a pair of large reliefs,
+four large circular medallions of the Evangelists, as well as four
+others of scenes from the life of St. John the Evangelist. Excluding
+the doors, everything is made of terra-cotta. The reliefs over the
+inner doors of the Sacristy represent St. Stephen and St. Laurence on
+one side, and St. Cosmo and St. Damian on the other. They are nearly
+life size, modelled in rather low-relief upon panels with circular
+tops, and of exceptional size for works in terra-cotta. The reliefs
+are enclosed in Donatello's framework of latish Renaissance design,
+but the figures themselves are very simple. There is a minimum of
+ornament, and they harmonise with the remarkable scheme of the bronze
+doors below them, with which they have so many points in common. The
+ceiling of the chapel has been repeatedly whitewashed, and the eight
+medallions are consequently blurred in surface and outline. It is a
+real misfortune, for, so far as one can judge, they contain
+compositions and designs of great interest, by which a new light would
+probably be thrown upon several doubtful problems were it possible to
+study them with precision. Criticism must therefore be guarded, and
+their position is such as to make examination difficult. The Roundels
+of the Evangelists are modelled with boldness and severity, qualities
+which one is not surprised to find in Donatello, but which are here
+emphasised, for they stand out in spite of the coats of whitewash. In
+some ways they resemble the Evangelists of the Capella Pazzi. Here one
+notices a delicacy of decoration on the seats, desks, &c., contrasting
+with the rugged grandeur of the figures themselves, and with the
+absence of ornament, which is so marked a feature of the other reliefs
+in the Sacristy. The four scenes from the life of St. John (Vasari
+says from the lives of the Evangelists) are even more interesting than
+the panels just mentioned. It appears from the few words Vasari
+devotes to the Sacristy that Donatello also painted views upon the
+ceiling, but no trace remains. The incidents depicted in the roundels
+are St. John's Apotheosis, Martyrdom, and Sojourn on Patmos, and the
+Raising of Drusiana. There are landscapes and architectural
+backgrounds; many figures are introduced, and there is a good deal of
+nude study. We also notice a feature of frequent occurrence--a trick
+of giving depth to the scene and vividness to the foreground, by
+letting figures be cut off short by the frames. Men seem to be
+standing on the spectator's side of the relief, and only appear at the
+point where they can be partly included in the composition. The field
+becomes one that would be included within the range of vision as seen
+through a round window or telescope. Mantegna made great use of this
+idea. The more one looks at these eight medallions the more one
+regrets their present condition: washing is all that is required. If
+they could be carefully cleaned we would certainly find details of
+interest, and in all probability facts of importance. The frieze of
+angels' heads which surrounds the Sacristy is of secondary interest,
+as there are only two different cherubs, which are reproduced by
+moulds all along its entire length. Signs of gilding and colour are
+still visible. Pretty as they are, these angels cannot challenge
+comparison with the Pazzi frieze or with Donatello's similar work
+elsewhere--for instance, on the base of the Cantoria or upon the Or
+San Michele niche. The marble balustrade of the altar may have been
+designed by Donatello. The Sacristy shows how well adapted terra-cotta
+was for decoration on a large scale. But Donatello was too wise to
+cover the walls with his reliefs, as is the case in the Capella
+Pellegrini at Verona. Here the sculpture is used to decorate the
+chapel walls, there the walls are merely used to uphold the sculpture.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+BRONZE DOORS
+
+SAN LORENZO, FLORENCE]
+
+
+[Sidenote: The Bronze Doors.]
+
+There is no more instructive study than the bronze doors of Italian
+churches. They are the earliest specimens of bronze casting to be
+found in Italy of Christian times; they show the gradual transition
+from Eastern to Western forms of art, and they were usually made by
+the most prominent sculptor of the day. Their size is considerable,
+they are frequently dated, and their condition is often
+extraordinarily good. Donatello's are relatively small, but they
+adhere to the best traditions. Excluding the great doors made by Luca
+della Robbia for the Sacristy of the Duomo, these in San Lorenzo are
+among the latest which were produced according to the ancient model
+and the correct idea. Thenceforward the doors ceased to be doors; the
+reliefs ceased to show the qualities of bronze, and disregarded the
+principles of sculpture. Donatello made two pairs of doors, one on
+either side of the altar. The doors open in the middle; there are thus
+four long-hinged panels of bronze, and each panel has five reliefs
+upon it. It is doubtful if the most archaic doors in Italy show such
+uniformity of design, for all the twenty bronze reliefs illustrate one
+single theme, namely, the conversation of two standing men. The panels
+simply consist of two saints, roughly sketched in somewhat low-relief
+upon an absolutely flat background: there is great variety in the
+drapery, and some of the figures might come out of thirteenth-century
+illuminations. Never was a monotonous motive invested with such
+variety of treatment: never was simplicity better attained by
+scrupulous elimination. Donatello's symmetrical idea had been
+previously employed, and Torrigiano put his figures in couples on what
+Bacon called one of the "stateliest and daintiest monuments of
+Europe."[171] Luca della Robbia put his figures in threes on the
+Cathedral gates, a seated figure in the centre, with a standing figure
+on either side. But Donatello had to make twice as many panels as
+Luca. Martyrs, apostles and confessors are talking on the San Lorenzo
+doors. Thus St. Stephen shows the stone of his martyrdom to St.
+Laurence. Elsewhere St. Peter's movement suggests that he is
+upbraiding his fellow, for the argument excites these saints. They
+gesticulate freely; martyrs seem to fence with their palm-leaves. One
+will turn away abruptly, another will pay sudden attention to his
+book, while his companion continues to talk. One man slaps his book to
+clinch the discussion, another jots down a note; two others are ending
+their controversy and prepare to leave--in opposite directions. But,
+though these are literal descriptions of the scenes, there is no
+levity; everything is ordained according to Donatello's strict
+formula. He was none the less determined to adhere to the old
+conventional and non-pictorial treatment of the gates, and at the same
+time to give animation to every panel. In this he has succeeded, but
+the symmetrical arrangement in pairs preserves a decorum in spite of
+the vigorous movement pictured on the doors. These doors open and
+shut: they were meant to do so, especially to shut. Ghiberti's second
+pair of doors for the Baptistery do not _shut_: they are closed, but
+they do not give the sense of shutting anything in or keeping anything
+out. They are more like windows than doors. They give no impression of
+defence or resistance: they are doors in nothing but name, and the
+chance that they hang on hinges. Were it merely a contest between
+Ghiberti and Donatello as to which sculptor were the more skilled
+constructor of doors, further comment would be unprofitable; but it
+raises the wider question of the laws and limitations of
+bas-relief--the application to sculpture of the principles of
+painting; in short, the broad line of demarcation between two
+different arts. Michael Angelo probably realised the unity of the arts
+better than Donatello, but Donatello knew enough to treat sculpture
+with due respect: he valued it too highly to confuse the issue by
+pictorial embellishments. It is no question of a convention, still
+less of a canon. But there are inherent boundaries between the two
+arts; and where the boundaries are overstepped, one or the other art
+must lose some of its essential quality and charm. Donatello's reliefs
+at Padua are crowded: Ghiberti's (on the second gates) are
+overcrowded. The difference in degree produces a difference in
+principle. If Ghiberti had made pictures instead of reliefs, the
+atmosphere would keep the objects in their right places, while
+differences of colour would give distinction to certain parts and the
+chief figures would still predominate. In other reliefs Ghiberti
+lavished so much care on landscape and architecture that the figures
+become of secondary importance: on one relief a tree casts its shadow
+on a cloud.[172] Ghiberti, in fact, with all his plastic elegance,
+with a grace, suavity and sense of beauty which Donatello never
+approached, was a painter at heart. "_L'animo mio alla pittura era in
+grande parte volto_," he says in his Commentary,[173] and the faults
+of his sculpture are due to this versatility. Donatello only used his
+pictorial knowledge to perfect form and feature; and, complex as his
+architectural backgrounds often are, they never suggest experiments in
+perspective, and they never detract from the primacy of the people and
+the incident. Michael Angelo was under no illusion on this point: he
+never confused painting and sculpture. Yet he said Ghiberti's gates
+would be worthy portals of paradise. "_Ce n'est pas la seul sottise
+qu'on lui fasse dire_," drily remarked the Chevalier des Brosses;[174]
+and, curiously enough, about the time that Michael Angelo made his
+famous Judgment, an amateur of the day made a much shrewder criticism,
+long since forgotten, that the doors would be adequate to stand at the
+gates of Purgatory:--"_sarebbon bastanti a stare alle porte del
+Purgatorio._"[175] The ambiguity is not without humour. Sculpture,
+indeed, had no reason to ape or imitate painting. Sculpture, in fact,
+was in advance of painting during the first half of the fifteenth
+century. Donatello, Luca della Robbia, Jacopo della Quercia, and
+Ghiberti were greater men in sculpture than their contemporaries in
+painting. The arts were in rivalry; the claim for precedence was
+zealously canvassed. The sculptors claimed superiority because their
+art was older, because statuary has more points of view than one. You
+can walk round it, while a picture has only one light and one view.
+Moreover, the argument of utility applies most to sculpture, which can
+be used for tombs, columns, fountains, caryatides, &c. Sculpture has
+finality, for, though it takes longer to make, it cannot be constantly
+altered like a picture. While all arts try to imitate nature,
+sculpture gives the actual form, but painting only its semblance. A
+man born blind has a sense of touch which gives him pleasure from
+sculpture, which is better suited to theology, which has greater
+durability, and so forth. The painter replied that, if a statue has
+more than one point of view, a picture containing many figures can
+give even greater variety. Then the argument of utility denies the
+essence of art, which is to imitate nature, not to adorn brackets and
+pilasters; but even if decoration be an end in itself, painting can be
+used where sculpture would be too heavy. The painter continues that
+his art requires higher training in such things as atmosphere and
+perspective. As to the greater durability of sculpture, the material
+and not the art is responsible; but, in any case, painting lasts long
+enough to be worth achieving. Finally, sculpture cannot always imitate
+nature: the sense of colour can make a sunset, a storm at sea,
+moonlight, landscape and human emotions, which are best translated by
+varying colour and light. The controversy is unsettled to this
+day.[176] The wise man, like Donatello, selected his art and never
+overstepped the boundary.
+
+[Footnote 171: "Life of Henry VII.," ed. 1825, iii. 417.]
+
+[Footnote 172: See Westmacott's lectures on Sculpture, II. III.,
+_Athenaeum_, 1858.]
+
+[Footnote 173: 2nd Comm. Vasari, I. xxx.]
+
+[Footnote 174: Letter of 1739, p. 186.]
+
+[Footnote 175: 17, viii. 1549, Antonio Doni, printed in Bottari, iii.
+341.]
+
+[Footnote 176: These dialogues will be found at great length in
+Borghini, Vasari, Leonardo da Vinci, Alberti, &c. Castiglione also
+devotes a canto of the "Cortegiano" to the subject.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+JUDITH
+
+LOGGIA DEI LANZI, FLORENCE]
+
+
+[Sidenote: The Judith.]
+
+The bronze statue of Judith was probably made shortly before
+Donatello's journey to Padua. It is his only large bronze group, and
+its faults are accentuated by the most unfortunate position it
+occupies in the lofty Loggia de' Lanzi. It was meant to be the
+centrepiece of some large fountain. The triangular base, and the
+extremities of the mattress on which Holofernes sits, have spouts from
+which the water would issue, though the bronze is not worn away by the
+action of water. As we see the statue now, it looks small and dwarfed.
+In a courtyard it would look far more imposing, and when it came from
+Donatello's workshop, placed upon a pedestal designed for it, its
+present incongruities would have been absent. For instance, the feet
+of Holofernes would have been upheld by something from below, as the
+marks in the bronze indicate. With all its disadvantages, the statue
+is extremely interesting. Judith stands over Holofernes. With her left
+hand she holds him up by clutching his hair: her right arm is
+uplifted, in which she holds the sword. The action seems arrested
+during a moment of suspense: one doubts if the sword will ever fall.
+Judith, who was the ideal of courage and beauty, seems to hesitate;
+there is nothing to show that her arm is meant to descend, except
+her inexorable face--and even that is full of sadness and regrets. It
+is more dramatic that this should be so. Cellini's Perseus close by
+has already committed his murder. The crisis has passed, the blood
+spurts from the severed head and trunk of the Medusa; so we have
+squalid details instead of the overpowering sense of impending
+tragedy. With Cellini there was no room for mystery: no imagination
+could be left to the spectator. "_Celui qui nous dict tout nous
+saousle et nous degouste._" Holofernes is an amazing example of
+Donatello's power. He is a really drunken man: we see it in the
+comatose fall of the limbs, in the drooping features, the languid
+inanition of the arms. The veins throb in his hands and feet: the
+spine has ceased to be rigid, and were it not for the support of
+Judith's hands buried in his hair, he would topple over inanimate. The
+treatment of the bronze is successful and its patina is admirable.
+Judith's drapery, it is true, has a restless crackling appearance. It
+is furrowed into small and rather fussy folds, almost suggesting, like
+the figures of the Parthenon pediment, the pleats of wetted linen on a
+lay figure. Judith's arm is overweighted by the heavy sleeve. There
+are, however, pleasing details, especially the band of embroidery over
+her breast decorated with the flying _putti_; and her veil, Michael
+Angelesque in its way, is treated with skill and distinction. The base
+consists of three bronze reliefs joined into a triangle, separated at
+each angle by a narrow bronze plaque, beyond which is a curved
+pilaster giving extra support to the figures above. These reliefs are
+bacchic in idea and Renaissance in execution. Children dance, play and
+sleep around the mask from which the jet of water would issue. These
+reliefs, much inferior to the bronze capital at Prato, have been
+over-rated. As a group the Judith is not really successful. It is a
+pile of figures, less telling in some ways than the Abraham and Isaac,
+though, having no niche, it has to undergo the severer test of
+criticism from every aspect. But before Michael Angelo the Italian
+free-standing group was tentative. Even in Michael Angelo's sculpture,
+when we consider its massive scale, the extent and number of his
+commissions, and the ease with which he worked his material, it is
+astonishing how few free-standing groups were made. His grouping was
+applied to the relief. The free group is, of course, the most
+comprehensive vehicle of intensified emotion or action; it gives an
+opportunity of doubling or trebling the effect on the spectator.
+Sculpture has never realised to the full the chances offered by
+grouped plastic art of heroic proportions. Classical groups cannot be
+fairly judged by the Laocoon, the Farnese Bull, or even the Niobe
+reliefs. Their theatrical character is so patent, that it is obvious
+how far inferior they must be to the work of greater men whose genuine
+productions have perished. But, even so, the group being the medium
+through which emotions could be intensified to the uttermost, it is
+not necessary to assume that they were common in classical times;
+partly owing to the technical difficulties and expense, and partly
+owing to their disinclination to make sculpture interpret profound
+impressions, mental or intellectual.
+
+There are only four life-sized statues of women by Donatello: this
+Judith, the Magdalen, the St. Justina, and the Madonna at Padua. The
+Dovizia is lost, and she was treated as an emblematic personage. These
+figures and the statuettes at Siena show that, although not accustomed
+to make female statues, Donatello was perfectly competent to do so.
+The little Eve, on the back of the Madonna's throne at Padua--the
+only nude figure of a woman he ever made, and here only in relief--is
+exquisite in sentiment and form. The statue of Judith had an
+adventurous life. After the revolution in 1495, the group was removed
+from the Medici palace to the Ringhiera of the Palazzo Pubblico, and
+the words of warning against tyranny were engraved on its new base:
+"_Exemplum salutis publicae cives posuere_, 1495." Judith was the type
+of nationalism, the heroine of a war of independence: and this mark of
+the Florentine love of liberty has lasted to our own day. No Medici
+dared to obliterate the ominous words. Donatello was not much in
+politics: his father had taken too violent a share in the feuds of his
+day, and narrowly escaped execution. Nor was Donatello's art coloured
+by politics: the Florentines did not give commissions like the Sienese
+for allegorical representations of the life and duties of citizenship.
+Differing from Michael Angelo, Donatello made no Brutus; he did not
+concentrate the political tragedies of his day into a Penseroso and a
+group of statues full of grave symbolical protests against the
+statecraft of his time; and, except for the accidental loss of
+Judith's pedestal, Donatello's art never suffered from the curse of
+politics. Michael Angelo was always surrounded by the pitfalls of
+intrigue and politics: some of his work was sacrificed in consequence.
+The colossal statue of Pope Julio was hurled from its place on the
+facade of San Petronio, Maestro Arduino the engineer, having covered
+the ground where it was to fall with straw and fascines, in order that
+no damage should be done--to the pavement! And the broken statue was
+sent away to Ferrara, where it was converted into a big cannon, which
+they felicitously christened Juliana![177]
+
+[Footnote 177: Gotti, "Vita," i. 66.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+ST. MARY MAGDALEN
+
+BAPTISTERY, FLORENCE]
+
+
+[Sidenote: The Magdalen and similar Statues.]
+
+We have now to consider a group of rugged statues differing in date
+but animated by the same motive, the Magdalen in Florence and three
+statues of St. John the Baptist in Siena, Venice, and Berlin. Of
+these, the Magdalen in the Baptistery at Florence is the most typical
+and the most uncompromising. She stands upright, a mass of tattered
+rags, haggard, emaciated, almost toothless. Her matted hair falls down
+in thick knots; all feminine softness has gone from the limbs, and
+nothing but the drawn muscles remain. It is a thin wasted form,
+piteous in expression, painful in all its ascetic excess. The Magdalen
+has, of course, been the subject of hostile criticism. It gives a
+shock, it inspires horror: it is an outrage on every well-clothed and
+prosperous sinner.[178] In point of fact, Donatello's summary method
+of carving the wood has given a harshness and asperity to features
+which in themselves are not displeasing. In a dimmed light, or looking
+with unfocused eyes on the reproduction, it is clear that the
+structural lines of the face were once well favoured. But from the
+beginning the Magdalen was a work which made a profound impression,
+and its popularity is measured by the number of statues of a like
+nature. Charles VIII. wanted to buy it in 1498, but the Florentines
+thought it priceless and hid it away. Two years later they had the
+bronze diadem added by Jacopo Sogliani.[179] Finally, at a period when
+this type of sculpture with all its appeal to the traditions of the
+Thebaid, was least likely to have been acceptable in art or exemplar,
+the statue was placed in a niche above an altar erected on purpose for
+its reception, where an inscription testifies to the regard in which
+it was then held.[180] This Magdalen is didactic in purpose. Donatello
+seems to have given less attention to the modelling, subtle as it is,
+than to the concentration of the one absorbing lesson which was to be
+conveyed to the spectator. His object was to show repentance, abject
+unqualified remorse; purified by suffering, refined by bodily
+hardship, and sustained by the "sun of discipline and virtue." There
+is no luxury in this Magdalen, but she may have contributed to the
+reaction when Pompeo Battoni and the like transformed her into an
+opulent personage, dressed in purple, who reclines in some luscious
+glade while simpering over a bible. By then art had ceased to know how
+penitence could be decently portrayed, and the penitent was not long a
+genuine subject of art. The Greeks, of course, had no penitent or
+ascetic in their theocracy: even the cynic scarcely found a place in
+their art. In Italy the Thebaids of Lorenzetti are among the earliest
+versions; the sculpture of the following century brought it still more
+home to the public, and then the true mediaeval sentiment upon which
+this and similar works were founded vanished and has never reappeared.
+The date of the Magdalen has provoked a good deal of controversy:
+whether it was made immediately before or after the visit to Padua
+cannot be determined. But the statue has so many features in common
+with the Siena Baptist of 1457 that one can most safely ascribe it to
+some date after Donatello's return to Florence. It is certainly more
+easy to justify the Magdalen from the pulpits of San Lorenzo than from
+anything made before his journey to Northern Italy. One
+misapprehension may be removed. It is argued that the Magdalen cannot
+be posterior to Padua on the ground that by 1440 Donatello had ceased
+to work in any material but soft and ductile clay, which was converted
+into bronze by his assistants. The argument is that of one who
+probably thinks that the Entombment at Padua is made of terra-cotta,
+and who forgets that Donatello executed a number of works in stone for
+the Marchese Gonzaga about 1450.[181]
+
+[Footnote 178: Rumour was very severe. "_Elle m'a pour toujours
+degoute de la penitence_," sighed Des Brosses. This inimitable person
+was the critic who, after visiting the Arena chapel at Padua, observed
+that nowadays one would scarcely employ Giotto to paint a
+tennis-court.]
+
+[Footnote 179: Richa, III., xxxiii.]
+
+[Footnote 180: The inscription is: "Votis publicis S. Mariae Magdalenae
+simulacrum ejus insigne Donati opus pristino loco elegantiario
+repositum anno 1735."]
+
+[Footnote 181: See p. 199. Moreover, in 1458 Donatello accepted a
+commission at Siena for a marble San Bernardino. And the Anonimo
+Morelliano mentions four other marble reliefs at Padua.]
+
+[Illustration: _Alinari_
+
+ST. JOHN THE BAPTIST
+
+FRARI CHURCH, VENICE]
+
+The statues of St. John at Siena, Berlin, and Venice[182] are closely
+analogous to the Magdalen. St. John is the ascetic prophet who spent
+years in seclusion, returning from the desert to preach repentance.
+These three figures have one curious feature in common--a flavour of
+the Orient. The St. John is some fakir, some Buddhist saint. Asiatic
+as the Baptist was, it is seldom that Italian art gave him so Eastern
+a type; but the explanation is simply that Donatello evolved his own
+idea of what a self-centred and fasting mystic would resemble, and his
+conception happens to coincide with the outcome of similar conditions
+actually put into practice elsewhere. The Berlin bronze is St. John as
+Baptist, the others show him with the scroll as Precursor. He always
+wears the camel's-hair tunic, which ends just below the knee; at Siena
+it is thick, like some woolly fleece; it conceals and broadens the
+frame, thus suggesting a stoutness which is not warranted by the
+size of the leg. The modelling of legs and arms in these statues is
+noteworthy. They are thin, according to Donatello's idea of his
+subject; and though the thinness takes the natural form of slender
+circumference, one sees that the limb with its angular modelling and
+its flat surfaces has _become_ thin: the thinness is explained by the
+character. The feet of the Siena bronze are exceptionally good; the
+wrist and forearm of the Venice figure are admirable. The Siena
+Baptist is nearly life-sized, and was made in 1457. He is the least
+introspective of the three, a mature strong man, and the oldest of the
+many Baptists Donatello made. The Berlin figure is the flushed
+eccentric, holding up the cup he used in baptizing. The figure is half
+the size of life, and was doubtless one of the numerous statuettes
+which crowned fonts. It has been suggested that this bronze, which is
+defective in several places, was commissioned for the Cathedral of
+Orvieto in 1423.[183] But the type would appear more advanced than the
+busts on the Mandorla doorway or the Siena work made about this time.
+Moreover, the contract specifies a St. John _cum signo crucis et
+demonstratione ecce agnus Dei_. A Baptist was made at the same time
+for Ancona, and is now lost. On first seeing the St. John in Venice
+one's impression is to laugh. But he is not really a wild man of the
+woods--he is simply covered with and made grotesque by thick masses of
+oil paint. A close examination of the figure shows that in some places
+the paint is over a quarter of an inch thick, and the last coating it
+has received is glutinous in quality, and has been laid on with such
+freedom that the position and shape of certain features are altered.
+But if seen close at hand, the statue (which it is understood will
+shortly be cleaned) shows distinct merits. The modelling of the
+extremities is good, and though it is clear that Donatello was never
+quite willing to treat St. John as on a par with the other Saints, we
+have a systematic and generic rendering of his idea. In some measure
+painting was needed as a preservative for wood statues, otherwise it
+is difficult to justify the covering of a fine material by paint which
+cannot do justice to itself, while it must hide the refinements of the
+carving. Donatello worked but little in wood. Crucifixes were commonly
+made of it, but the material was one which could never receive _quella
+carnosita_ and _morbidezza_[184] of marble or metal. The Greeks
+limited their use of it to garden and woodland themes: the Egyptians
+used it but little, because they had so few trees. In Donatello's time
+it was popular, and came to be regarded as a distinct art. Thus the
+Sienese wood-carvers were forbidden to work in stone,[185] but the
+great masters like Donatello did not strictly adhere to the rules, and
+did not refrain from invading the art of the woodcarver. There is a
+large class of statues derived from the four just described. One of
+these, attributed to Donatello, is the St. Jerome at Faenza, also made
+of wood.[186] Chocolate-coloured paint has been ladled all over the
+body. The beard is faint lavender, and the canvas loin-cloth is blue.
+The pose and expression are mannered. It is usual to dismiss it in an
+offhanded way as a bad and later work; but the modelling shows signs
+of skill, and until the paint is removed it is useless to make
+guesses. Two bronze statuettes of the Baptist[187] are distinctly
+Donatellesque, and made about 1450, though it is impossible to assign
+them with certainty to the master himself. Michelozzo's versions of
+St. John at Montepulciano, on the Cathedral altar in Florence, and in
+the Annunziata, show the influence of Donatello; but the Baptist is a
+milder prophet, and no longer the hermit. In the Scalzi at Florence
+there is a Baptist which is typical of many others of the same
+character. The Magdalen was less copied than the St. John. The version
+nearest Donatello himself is in London, a large grim bust;[188] in the
+same collection is a relief of her apotheosis, and the Louvre
+possesses a similar work.[189] Neither of the latter is by Donatello
+himself, but they recall his influence.[190] The large Magdalen in
+Santa Trinita at Florence is a good example of the _bottega_.
+
+[Footnote 182: Siena Cathedral, bronze; Berlin Museum, bronze; Frari
+Church, Venice, wood.]
+
+[Footnote 183: 10, ii. 1423. On 29, iv. 1423, Donatello received 5
+lbs. 3 oz. of wax for modelling the figure. Luzi, "Duomo di Orvieto,"
+1867, p. 406.]
+
+[Footnote 184: Vasari, i. 147.]
+
+[Footnote 185: _Che niuno maestro di legname possa fare di pietra._
+Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120.]
+
+[Footnote 186: In Museum. From the Capella Manfredi in San Girolamo
+degli Osservanza outside the town, suppressed in 1866. _Cf._ two
+similar statuettes in terra-cotta, Bargello, Nos. 174 and 175.]
+
+[Footnote 187: Louvre, about 12 inches high, unnumbered. Museo
+Archeologico, Venice, No. 8. Frau Hainauer's bronze Baptist, signed by
+Francesco di San Gallo, is interesting in this connection.]
+
+[Footnote 188: Victoria and Albert Museum, No. 157, 1894.]
+
+[Footnote 189: _Ibid._ No. 7605, 1861, terra-cotta. Louvre, No. 465,
+ditto.]
+
+[Footnote 190: _Cf._ Herr von Beckerath's in Berlin, and the
+Verrocchio-school Magdalen in the Berlin Gallery, No. 94.]
+
+       *       *       *       *       *
+
+[Sidenote: The Altar at Padua.]
+
+Donatello was fifty-seven when he left Florence in 1443 to spend ten
+eventful years at Padua. There he carried out his masterpieces of
+bronze for the Cathedral and the equestrian statue of Gattamelata on
+the Piazza opposite Donatello's little house, which to this day is
+occupied, appropriately enough, by a carver--Bortolo Slaviero,
+_tagliapietra_. It is now established that Donatello was invited to
+Padua for the Church and that the Gattamelata was not commissioned
+until later.[191] At this time Padua was a centre of humanistic
+learning and intellectual activity. There was a hive of antiquarians
+and collectors, and, according to its lights, a thriving school of
+painters.[192] The Florentine Palla Strozzi was living there in
+retirement, and he may have been partly responsible for the invitation
+to Donatello. But the indigenous art of Padua was dependent on Venice,
+and needed some fertilising element. Squarcione with his 140 pupils
+founded his art upon traditional and conventional data: had it not
+been for Donatello and the radical changes which resulted from his
+sojourn at Padua, a fossilised school would have become firmly rooted,
+and would probably have influenced the whole of the Veneto. Mantegna
+was still young when Donatello arrived, and though there is no reason
+to suppose that he received work from Donatello as Squarcione did, it
+is clear that, without this influx of Southern ideas, he would have
+had some difficulty in shaking off the conventionalisms of his home.
+But though Donatello's immediate influence on Paduan art was decisive
+(and its ramifications soon extended to Venice), he was himself
+influenced by his fresh surroundings, and his native bent towards
+complexity was increased. He assimilated many of the local likes and
+dislikes. If Gattamelata had been erected in some Florentine square
+there would have been less ornament; if Colleone had been commissioned
+for Siena there would have been less _braggadocio_. Leonardo never
+recovered his Tuscan frame of mind after his sojourn in Milan.
+Donatello himself realised these novelties to the full, and their
+results upon his art. While he was making the intricate bas-reliefs,
+the selective genius of Luca della Robbia was composing the Florence
+Lunettes,[193] monumental in their simplicity. And though Vasari
+records the enthusiasm with which Donatello's productions were greeted
+in the North, the sculptor recognised the dangers of unqualified
+praise, and said he must return home to Florence to receive criticism
+and censure, the stimulus to better work and greater glory. But the
+_maggiore gloria_ was not to be attained. He was old when he left
+Padua, and on his departure he had completed the greatest undertaking
+of his career--the High Altar of the Santo, with all its marble
+setting and the bronze figures. A crucifix, the Madonna and Child, six
+saints, a Pieta, twelve panels of angels, four reliefs of St Anthony's
+Miracles, the Symbols of the Evangelists, and a large marble
+Entombment. Donatello's altar was unfortunately dismantled in the
+seventeenth century, and the statues were dispersed throughout the
+Church. The altar was reconstructed a few years ago, and the bronzes
+have suffered during their exile, but they are still in good
+preservation. The new marble altar is a thoughtful and painstaking
+construction; its details are derived from Donatellesque motives, and
+the bronzes are fitted in with skill. It cannot, however, be in any
+sense a reproduction of the old altar, of which no drawing is
+preserved. And the earliest description, which has been carefully
+followed as far as circumstances allow, shows that the existing
+sculpture is incomplete: at least four marble reliefs have been
+lost.[194] One may further remark that the twelve angels in high
+relief, now forming the face of the altar frontal, are so designed,
+especially as regards their aureoled heads, that one concludes it must
+have been Donatello's intention for them to have been looked up to
+rather than looked down upon. The present arrangement of the altar is
+simple and effective. The frontal itself is composed of children
+singing and playing music. In the centre is the Pieta, and on either
+side is an Evangelist's symbol flanked by two saints on the level of
+the top of the altar. The retable has two miracle reliefs, and between
+them a small bronze Christ, which has been put there in error. Above
+the retable is the Madonna with two saints on either side: the
+crucifix surmounts the whole composition. The back of the altar has
+the remaining Miracle reliefs and Evangelist symbols, together with
+the Entombment.
+
+[Footnote 191: Michael Angelo Gloria; Donatello Fiorentino e le sue
+opere ... a Padova, 1895, from which the dates are all quoted.]
+
+[Footnote 192: See Kristeller's Mantegna, translated by S.A. Strong,
+1901, p. 17.]
+
+[Footnote 193: Over the Sacristy doors in the Cathedral.]
+
+[Footnote 194: Anonimo Morelliano (1520-40). Ed. of Bassano, 1800, p.
+3. _E da dietro l'altar sotto il scabello il Cristo morto, con le
+altre figure a circo, e le due figure da man destra con le altre due
+da man sinistra, pur de basso rilevo, ma de marmo, furono de mano de
+Donatello._]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SAINT FRANCIS, THE MADONNA, AND SAINT ANTHONY
+
+SANT' ANTONIO, PADUA]
+
+
+[Sidenote: The Large Statues.]
+
+Of the seven large free-standing statues, that of the Madonna and
+Child worthily occupies the central position. Nobody was more modern
+than Donatello, nobody less afraid of innovation. But in this Madonna
+he went back to archaic ideas, and we have a conception analogous to
+the versions of the two previous centuries:[195] indeed, his idea is
+still older, for there is something Byzantine in this liturgical
+Madonna, who gazes straight in front of her, and far down the nave of
+the Santo--a church with mosque-like domes, like those of the early
+Eastern architects. The Child is seated in her lap, as in the
+earliest representation of the subject: here, however, the Christ
+is a child, with an element of helplessness almost indicated, whereas
+the primitive idea had been to show the vigour and often the features
+of a biggish boy. Donatello's version is much more pathetic, as the
+little Christ raises a tiny hand in benediction. The Virgin herself is
+of unequalled solemnity, while her young and gracious face, exquisite
+in expression and contour, is full of queenly beauty. But there is
+still this atmosphere of mystery, an enigmatic aloofness in spite of
+the warm human sentiment. The Sphinx's faces, with all their
+traditions of secrecy, contribute their share to the cryptic
+environment. Donatello uses them as the supports of the throne on
+which the Madonna is seated; behind it are Adam and Eve in relief: in
+front she herself shows the New Adam to the multitude, on whom he
+confers his blessing. St. Francis of Padua [Transcriber's Note: Should
+be "Assisi."] stands on the right of the Madonna, as founder of the
+Order, and taking precedence of St. Anthony, to whom the church is
+dedicated. He holds the crucifix and the book of rules. He is draped
+in the ordinary Franciscan habit, which falls round his feet, giving a
+stiffness to the figure as seen in profile, and making him appear
+rather short when seen from the front. The workmanship is good, the
+hands, with lightly shown stigmata, being excellent; but the lack of
+distinction in the figure makes one look more closely at the head,
+which is modelled with great power and freedom, showing that Donatello
+still possessed the vigour and penetration for which the Campanile
+prophets are notable. The head is full of character; not perhaps what
+one would expect from the apostle of self-abnegation: but it is
+determined, strong in the mouth and broad chin. It was, of course,
+only meant to be seen a few feet from the ground, and the lines do
+not compare in depth with the Habbakuk or the Zuccone; but there is
+none the less an analogy in the manner by which Donatello calls in the
+assistance of light and shade to add tone and finish to the modelling.
+St. Anthony was a deservedly popular saint in Padua, where he preached
+and denounced the local tyrant; and he may be accounted the greatest
+man of Portuguese birth. But Donatello does not seem to have found the
+subject very inspiring. He has taken his idea from rather an ordinary
+friar such as he or we might see any day. It is a good homely face,
+neither worldly nor spiritual, and only redeemed from the commonplace
+by technical ability. St. Daniel is more interesting; the young deacon
+is extremely well posed, the plain and massive features being drawn
+with a firm and confident touch; and the deacon's vestments, which
+always take an easy and becoming fall, are decorated in a typical way
+with winged children arbitrarily introduced, and looking more like the
+detail of some bas-relief than a piece of embroidered ornament. St.
+Justina wears the coronet as princess, and bears the palm-leaf as
+martyr. She has no pronounced characteristic, the face being rather
+unemotional; but the gesture of her outstretched hand is not without
+an appealing dignity. The hair, like that of the Madonna, is parted in
+the centre, and stands off from the forehead, and then falls in rich
+tresses about her shoulders. It has not the soft and silken texture of
+the Madonna's hair, which is rendered with as great a skill as one
+sees in the Virgin of the Annunciation. In both these latter cases
+Donatello succeeds in giving to the hair an indescribable suggestion
+of something full of elasticity and lustre. But St. Justina's hair at
+least grows: so many sculptors of ability failed to indicate that
+needful quality. St. Procdocimus and St. Louis are of subordinate
+merit, and show the work of assistants in several particulars. The
+former was first Bishop of Padua and converted the father of St.
+Justina to Christianity. At first sight the statue is pleasing, but on
+closer examination the weaknesses, especially in the face, become
+marked. There is indecision, not in the pose or general idea, but in
+the details which give character to the whole conception. The features
+are chiselled by a small _mesquin_ personality, and what might have
+been a fine statue if carried out by Donatello has been ruined by his
+assistants. The ewer which the Bishop carries is a later addition,
+from the design of which one might almost argue that the statue itself
+is later than the others.[196] The St. Louis, wearing his episcopal
+robes above the Franciscan habit, his mitre decorated with a
+fleur-de-lys of royal France, is also hammered all over, giving the
+bronze the appearance of being dotted with little pin-holes. The head
+is, however, marked by the grave austerity for which the St. Louis in
+Santa Croce is so remarkable, and which became the typical rendering
+of the saint in fifteenth-century plastic art. However much Donatello
+may have allowed a free hand to his assistants in this statue, the
+fine qualities of the head are attributable to a strict adherence to
+his own sketch. The last of the great bronze figures is the crucifix
+above the high altar. It is magnificent, apart from the technical
+qualities which rival Donatello's most brilliant achievements. All the
+lines droop together in a wonderful _cadenza_; the face is
+transfigured by human pain, but all the superhuman power remains.
+Donatello combines the literal and symbolical meaning of the Cross;
+the Godhead is still there. Donatello did not forget that the
+crucified Christ, when represented by the sculptor, had to preserve
+all the immortality of the Son of God. His _contadino_ Christ in
+Florence has its interest in art; this Christ marks the summit of his
+plastic ability; but it shows that, without any appeal to terror or
+emotionalism, without, indeed, suppressing the signs of physical pain,
+Donatello was able to give an overwhelming portrait of Christ's agony.
+The celestial and the terrestrial are unified and fused into one
+tremendous concentration of human suffering, tempered by divine power.
+
+[Footnote 195: _Cf._, for instance, the Madonna over the door of the
+Pisa Baptistery.]
+
+[Footnote 196: _Cf._ drawings of ewers in Uffizzi by Giacomone da
+Faenza, sixteenth century.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+MIRACLE OF THE SPEAKING BABE
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: _Alinari_
+
+MIRACLE OF THE MISER'S HEART
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: _Alinari_
+
+MIRACLE OF THE MULE
+
+SANT' ANTONIO, PADUA]
+
+
+[Sidenote: The Bronze Reliefs.]
+
+The four panels of Miracles take the highest rank among Donatello's
+bas-reliefs. Their size is considerable, being about four feet long.
+They have one theme in common, namely, the supernatural gifts of St.
+Anthony and the veneration of the populace. Donatello's crowds are
+admirable; they are deep crowds. The people are rather hot and
+jostling each other: they stand on benches or stairs in order to get a
+better view of what is proceeding. The edges of the crowds, where the
+people are too far off to be active spectators, lose interest in the
+central incident; they gossip as bystanders or sit down: often they
+are shown actually leaving the place. It is singular how ill-designed
+many of the classical crowds are, especially the battle-scenes: they
+are constructed without regard for the human necessity of standing on
+something; and we have grotesque topsy-turvy compositions, the
+individual parts of which are unrivalled in technique.[197] Michael
+Angelo's first and last representation of a crowd in sculpture shows
+the same fault, which, indeed, was far from uncommon.[198] It arose
+from a desire to show more of the crowd than could be naturally seen
+from the eye level, and the whole relief was consequently covered with
+figures, the background proper being suppressed. In these Paduan
+reliefs Donatello manages to give ample density and variety, and there
+is never any doubt as to the ownership of legs or arms. His early
+relief at Siena, on the other hand, has a group where there is
+confusion, which is not justified in a quiet gathering of people.
+Another feature which the four reliefs have in common is Donatello's
+treatment of narrative. Ghiberti's plan was to put several incidents
+into one relief, forming a sequence of events leading up to the
+critical episode, to which he usually gave the best place in the
+foreground. He consistently followed up his formula in the second
+gates, and brought the practice to its perfection. Whether suitable or
+not for gates, it would have been an intelligible treatment of purely
+decorative reliefs, like those at Padua. Donatello, however, confines
+his plaques to single incidents: in one case only does he add a second
+detail, and there only as a corroborative fact. The narrative is shown
+in the crowd itself. Attitudes and expression are made to reflect the
+spirit of what has gone before, while the actual occurrence suffices
+to show the final issue of the story. Thus we have all the ideas of
+which others would have made a series of subordinate scenes:
+incredulity, fear, surprise, mockery, apathy and worship. The crowd
+shows everything which has already passed, and the composition of the
+bas-reliefs thus secures a striking homogeneity. It is difficult to
+say which of them is best. The variety in dress, scene and physiognomy
+is so remarkable; varying, no doubt, according to the tastes of the
+_garzone_ responsible for finishing it. Probably the miracle of the
+Speaking Babe is the best known. A nobleman of Ferrara doubted the
+honour of his wife; St. Anthony conferred the power of speech on her
+infant child, which proclaimed its mother's innocence. Donatello has
+put an exquisite little Madonna and Child just above the central
+figures of the legend. The composition of this group, as in the
+others, is broken by the architecture, otherwise the length of the
+bronzes might have tended to a monotonous row of figures. But the
+projecting background does not make the episode less coherent. The
+mother is just receiving back her baby from the saint; behind her are
+women, friends and others; whereas the opposite side of the relief is
+entirely occupied by men, who are around her husband; and the
+suggested conflict of the sexes is averted by the miracle. The
+husband, who wears an odd sort of _bonnet tricolore_, and several of
+his comrades are simply dressed in short cloaks open at the sides and
+ending just below the hip. The legs and arms, and especially the
+hands, are very well modelled. In this relief the actors are quiet and
+decorous, and where not motionless are moving slowly. The miracle of
+the Miser's Heart is more emotional: "where thy heart is there shall
+thy treasure be also." The miser having died, St. Anthony said that
+his heart would be found in his strong box: this was proved to be the
+case, and then when the body was opened it was found that his heart
+was absent. The scene is nominally inside a church: in the background
+is a procession of clergy and choristers with their cross and candles.
+In the centre is the bier with the corpse lying on it. The body is
+opened and the crowd looks on in feverish though suppressed
+excitement. St. Anthony is pointing towards the dead man: and the
+crowd realises that the heart is absent--_ubi thesaurus ibi cor_.
+Numbers of people have dropped on to their knees, others kiss the
+ground where the saint stands. There are signs of distress and
+apprehension on all sides. Some children scuttle back to their
+parents; one of the mothers bends down to catch her child just as it
+is going to fall. Two boys have climbed on to an altar or pedestal to
+get a better view: one of them wears the peaked cap still worn by the
+undergraduates of _Padova la dotta_. The whole scene is immensely
+dramatic and grim, without any frenzy or excess; and its solemn effect
+is enhanced by the reserve of the people in spite of their excitement.
+The background is full of detail, largely obtained by the chisel: one
+part of it, with the stairs, ladders and upper storey, resembles the
+Lille relief. There are two important inscriptions, cut into the
+metal, to which reference will be made later. The subject of the third
+relief (now placed on the retable and already getting dimmed by
+candle-grease) is the healing of the youth Leonardo, who kicked his
+mother and confessed to St. Anthony, who properly observed that so
+sinful a foot should be cut off. The injunction was taken too
+literally, and the saint's miraculous power replaced the severed limb.
+Strictly speaking, this miracle takes place in the open air, for
+Donatello has introduced a rudimentary sun with most symmetrical rays,
+and half a dozen clouds which look like faults in the casting. But the
+whole relief is framed by an architectural structure, some
+amphitheatre with the seats ranged like steps. A balustrade runs all
+round the huge building, and a number of idlers standing about at the
+far end are reduced to insignificant proportions, thus giving
+distance and depth to the scene. Leonardo lies on the ground in sad
+pain, and Anthony has just restored the foot. The central group is not
+much animated, but two or three of the men's heads are telling
+character-studies. Donatello has concentrated his crowd into the
+centre: at the sides the miracle passes unheeded. A fat man is
+soliloquising with his hand reposing on an ample stomach: a boy with a
+long stick and something like a knapsack on his back is attracting the
+attention of a young woman, who seems absorbed in watching the
+miracle: her child tries to pull her along to go closer. In the corner
+are some strange recumbent figures, almost classical in idea; and a
+tall woman completely veiled, with her face buried in her hands. The
+last of the reliefs illustrates St. Anthony's power over animals. One
+Bovidilla, a sceptic, possessed a mule; the saint offered the
+consecrated wafer to the animal when starving, and Bovidilla was
+converted by the refusal of the animal to eat it. The scene takes
+place within a church, which, so far as we see the apse and choir, is
+composed of three symmetrical chapels with vaulted and coffered roofs.
+There is plenty of classical detail, but still more of the
+Renaissance; there is no occasion to assume the design to have been
+copied from the Tempio di Pace or the Caracalla baths. St. Anthony
+occupies the centre, and the kneeling mule is on the right, his master
+close at hand. The church is crowded with people, who, on the whole,
+show more curiosity than reverence. Several garrulous boys by the door
+are amused; an old beggar hobbles in; a mother tries to keep a child
+quiet. Others take any post they can secure, and a good many are
+crouching on the ground in all sorts of postures, making a variety
+which amounts to unevenness. In all these panels the head of St.
+Anthony is of a finer type than that shown in the other version on
+the altar. The features are clear cut, and there is an air of earnest
+distinction which is not observed on the large statue. Speaking
+generally, one notices that while ample scope is allowed to the
+fancies of picturesque architecture in all these reliefs, Donatello
+always keeps it within proper bounds. Donatello was not tempted into
+the interacting problems of perspective and _intarsia_, which caused
+so many Paduan artists to lose grasp of the wider aspects of their
+calling. Then we notice how the crowd _qua_ crowd plays its proper
+part: out of some two hundred faces in these panels not more than two
+or three look out to the spectator--a quality inherited by Mantegna.
+The reliefs are essentially local pictures of local significance; not
+only the costume, but the types are Paduan, such as we find in the
+local school of painting: but we find nothing of the kind in Donatello
+before the journey to the north, and the types scarcely reappear on
+the altar of San Lorenzo. But, in spite of this, the reliefs have a
+catholicity which extends their influence far beyond the limits within
+which Donatello confined his work. Finally, the wealth of local
+colouring and animation makes these reliefs among the earliest in
+which "genre" or "conversation" has prominence. They offer a most
+striking contrast to the sedate Florentine crowds painted in the
+Brancacci chapel by Masaccio.
+
+[Footnote 197: _Cf._ Battle of Romans and Barbarians, No. 12. Museo
+Nazionale, Rome.]
+
+[Footnote 198: Battle, Casa Buonarroti, Florence.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SYMBOL OF ST. MATTHEW
+
+SANT' ANTONIO, PADUA]
+
+
+[Sidenote: The Symbols of the Evangelists.]
+
+There are four other bronze reliefs, the Symbols of the Evangelists.
+Donatello has contrived to invest these somewhat awkward themes with
+alternate drama and poetry. The emblems of Ezekiel's vision were too
+intricate for Western art, and long before the fifteenth century they
+had been reduced to the simple forms of the lion, ox, eagle and angel,
+with no attribute except wings. All four reliefs are rectangular,
+about eighteen inches square. The ox is, of course, the least
+inspiring, and here as elsewhere is treated in a dry perfunctory
+manner. The oxen on the facade of Laon Cathedral offered some scope to
+the sculptor, being life-sized; but in a small relief the subject was
+not attractive. The lion is more vigorously treated. As a work of
+natural history he is better than the Marzocco, and he has a certain
+heraldic extravagance as well. The limbs have tension, the muscles are
+made of steel, and there is strength and watchfulness, attributes
+which led the early architects to rest the pilasters of the pulpit and
+portal upon lions' backs. But the eagle of St. John is superb, even
+grander than the famous classical marble of the same subject.[199] It
+has the broad expanse of wings, vibrating as though the bird were
+about to take flight: the long lithe body with its soft pectoral
+feathers, the striking claws, and the flattened head with cruel
+gleaming eye, all combine to give a _terribilita_ which is, perhaps,
+unsurpassed in all the countless versions of the symbol. But the drama
+of the eagle is eclipsed by the quiet unostentatious poetry of the
+angel of St. Matthew. We see a girl of intense grace and refinement,
+winged as an angel and looking modestly downwards to the open gospel
+in her hands. Delicacy is the keynote pervading every detail of the
+relief: in her hands, arms and throat, in the soft curves of the young
+frame, and in the drapery itself, which suggests all that is dainty
+and pure--everywhere, in fact, we find charm and tenderness, rare even
+in a man like Ghiberti, almost unique in Donatello.
+
+[Footnote 199: The Walpole Eagle from the Tiber, belonging to the Earl
+of Wemyss.]
+
+       *       *       *       *       *
+
+[Sidenote: The Choir of Angels.]
+
+In the original contract with Donatello, ten angels were commissioned,
+and were exhibited on the provisional wooden altar (13, vi. '48). It
+appears, however, that they were insufficient, and two more panels
+were ordered. These may possibly be the reliefs in each of which a
+couple of angels are represented singing, certainly the most
+successful of all. There is a palpable inequality in the remainder.
+They not only show differences of treatment in the details of drapery,
+chiselling and general decoration, but there is a substantial lack of
+harmony in their broad conception. It is impossible to believe that
+the two angels leaning inwards against the edge of the relief (the
+fourth respectively from either end of the altar) could have been
+modelled by Donatello. Not only are they vulgar and commonplace, but
+they are malformed: well might Donatello long for criticism and
+censure if these two stupid little urchins were standards of his
+production. Next to one of these pipers is a child playing the lute,
+delicious in every respect: he is made by the genius, the other by the
+hack. They contrast in every particular--drapery, anatomy, face and
+technique. The lutist is admirable as he looks down at his instrument
+to catch the note; capital also is the boy playing the double pipe,
+with the close drapery swirling about his plump limbs, as one sees in
+San Francesco of Rimini, that temple dedicated to Isotta and to
+Childhood. The head of the boy playing the harp shows the best
+characteristics of this group. The hair is relatively short, and falls
+in thick glossy ringlets over his ears; it is bound by a heavy chaplet
+of leaves and rosettes; above this wreath the hair is smooth and
+orderly. There was no occasion to exclude the pleasing little touches,
+as in the case of the Cantoria children, where deep holes penetrate
+the children's hair, so that the "distance should not consume the
+diligence." At Padua, where the choristers were to be seen a few feet
+only from the ground, the sculptor's efforts to show the warm shades
+and recesses of the hair were amply repaid. The boys singing the duets
+differ from the remainder: they are busily occupied with their music,
+carefully following the score. The disposition of two children in a
+panel only large enough for one has not been so successfully met as
+when Abraham and Isaac were fitted into the narrow niche on the
+Campanile; but the affectionate attitude of these boys and their
+sincerity make one overlook a slight technical shortcoming. The two
+heads in close proximity give a certain sense of atmosphere between
+them, not easily rendered when one of them had to be modelled in
+comparatively high-relief.
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+CHORISTERS
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: _Alinari_
+
+CHORISTERS
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: CHRIST MOURNED BY ANGELS
+
+LONDON]
+
+
+[Sidenote: The Pieta and the Entombment.]
+
+The remaining work for the high altar consists of a marble Entombment
+and a bronze relief of Christ mourned by Angels, treated as a Pieta.
+The tabernacle door, which occupies the centre of the high altar,
+differs in shape, quality and design from everything else, and is
+wholly unworthy of its prominent position. The lower relief is,
+however, a work of exceptional interest. It is placed in the centre of
+the frontal with the reliefs of choristers on either side of it, a
+tragic culmination to all the happy children around it. The Christ is
+resting upright in the tomb, half of the figure only being visible.
+The head is bowed and the hands crossed: the face is wan and haggard.
+The body is modelled to emphasise the pronounced lines of the big
+curve formed by the ribs from which the lower part of the body is fast
+sinking: Donatello did the same thing with the crucifix. An angel
+stands at each side of the Christ, holding up a curtain or pall behind
+the figure. Each of these boys has a hand pressed against his cheek,
+the picture of tragedy: they weep over the dead Saviour, their anguish
+is indescribable. In the marble version of the same subject in
+London,[200] the angels are actually supporting the Christ, who,
+without their maintenance, would fall down. His head is resting
+against one of the children's hands: one of the arms has slipped down
+inanimate, while the other hangs over the shoulder of the second
+angel, a consummate rendering of what is dead: the veins are tumified,
+the skin is shrinking, and the muscles are uncontrolled. This Christ
+is in some ways the more remarkable plastic achievement, though it is
+not so characteristic as the Paduan version. The two reliefs are
+probably coeval, though that in London, with its attendant angels, has
+indications of being rather earlier in date, and almost shows the hand
+of Michelozzo in one or two details. But the head of Christ, with its
+short thin beard, and the hair held back by a corded fillet, is
+similar to much that is exclusively Paduan. The Entombment, a very
+large marble relief, consists of eight life-sized figures, four of
+whom are lowering the body into the sepulchre. Here for the first time
+we have that frenzied and impassioned scene which became so common in
+Northern Italy. The Entombment on the St. Peter's Tabernacle is
+insipid by the side of this, where grief leads the Magdalen to tear
+out thick handfuls of her hair; others throw up their hands as they
+abandon themselves, as they scream in ungovernable sorrow. It is a
+riot of woe, and the more solemn figures who are engaged with the dead
+body have grown grey with care. This relief dates a new departure: the
+Entombment and other episodes of the Passion henceforward lose their
+calm emblematic character, and are fraught with tragedy and gloom.
+Donatello's relief became the prototype for the Bellini, for Mantegna,
+and a host of artists who, without, perhaps, having seen the original,
+drew their inspiration from what it had already inspired. For a while
+this intensification of the last scenes of Christ's life bore good
+fruit for art, especially in the northern provinces: but after a
+certain point nervous exhaustion ensued and produced a kind of
+hysteria, where the Magdalen's tears must end in convulsive laughter,
+and where the tragedy is so demonstrative that the solemn element is
+utterly lost.[201] The profound pathos and teaching of the earlier
+scenes were exchanged for what was theatrical. But Tragedy always held
+a place in Italian, or rather in Christian art: it was out of place in
+antiquity. The smiling and perennial youth of the gods, their
+happinesses, loves, and adventures, gave relatively small scope for
+the personal aspects of tragedy. There was no need for vicarious or
+redemptive suffering: what pain existed, and they rarely expressed it
+in marble, was human in its origin and punitive in effect: Icarus,
+Niobe, Laocoon, Prometheus; and even here the proprieties of good
+taste imposed strict limits, beyond which the portrayal of tragedy
+could not go without violating unwritten laws. It had to occupy a
+secondary place in their art: the dying gladiator was merely a broken
+toy tossed aside. Their tragedies were largely limited to Nemesis, the
+Moirai, the Erinnydes, and lower forms, such as harpies. But
+occasionally one gets a breath of mediaevalism and its haunting
+mysteries. The Sleeping Fury at Rome, for instance,[202] where sleep
+steals in during a moment of respite from torture, is superb, and,
+moreover, stands almost alone in its presentment of a certain
+impelling tragedy, which, with the advent of Christianity, became an
+integral and dominating feature of its art.
+
+[Footnote 200: Victoria and Albert Museum, No. 7577, 1861. M.G.
+Dreyfus has a fine plaquette analogous to these large reliefs.]
+
+[Footnote 201: _Cf._, for instance, Madame Andre's Pieta lunette, or
+the stone "Lamentation" in Victoria and Albert Museum, No. 314, 1878,
+almost German in its harsh realism. This came from the Palazzo Lazzara
+at Padua.]
+
+[Footnote 202: In Ludovisi Buoncompagni Collection, Museo Nazionale,
+marble. _Cf._ also the bust of Minatia Polla, so called, which might
+be by Verrocchio.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+SUPER ALTAR BY GIOVANNI DA PISA
+
+EREMITANI CHURCH, PADUA]
+
+
+[Sidenote: Donatello's Assistants.]
+
+The variety of workmanship at Padua would be an infallible proof that
+Donatello had the assistance of a number of disciples, even if we had
+no documentary evidence on the point. Bandinelli refers to their
+numbers: when needing help he wrote to the Grand Duke saying that
+Donatello always had eighteen or twenty assistants, without whose aid
+it would have been impossible for him to have made the Paduan
+altar.[203] But we also possess bills, contracts, and schedules, in
+which we can find the names of Donatello's _garzoni_. The work, it
+must be remembered, was not wholly confined to sculpture: among the
+earliest recorded payment to Donatello is that for structural work on
+the Loggia (30, iii. 1444). Giovanni Nani of Florence was already
+engaged there (3, iii. 43) as a sort of master mason on Donatello's
+arrival: he made the marble pedestal for the crucifix (19, vi. 47),
+and several others are mentioned in a subordinate capacity, such as
+Niccolo Cocaro (23, iv. 49), Meo and Pipo of Florence (30, iv. 49),
+Antonio of Lugano, _taia pria_ (12, v. 49); Bartolomeo of Ferrara went
+to Valstagna to open up the quarry--_una montagna de lo alabastro_
+(13, viii. 46). Employment was also given to Jacomo, a goldsmith (9,
+v. 48), to Squarcione the painter (21, xi. 47), to Moscatelo, the
+maker of majolica (v. 49), and to Giovanni da Becato, who made a metal
+grille behind the altar. Francesco del Mayo and Andrea delle Caldiere
+were the chief bronze casters; a dozen or fifteen other names are
+recorded. None of these can have had much influence on the sculpture
+itself; but there were men of greater calibre, Giovanni da Pisa,
+Urbano da Cortona, Antonio Celino of Pisa, and Francesco Valente of
+Florence. Though called _garzoni_ and _disipoli_ of Donatello (June
+and Sept. 47), they soon became men of trained capacity, and were
+specifically mentioned in some of the contracts. Thus it appears that
+each was entrusted with one of the evangelist's symbols; they were
+also largely responsible for the bronze choristers (27, iv. 46). Their
+whims and idiosyncrasies are visible in many particulars: in the halos
+for instance. The gospel emblems all have halos, likewise most of the
+singing children, whereas there are none on the Madonna and the great
+statues of canonised saints on the altar. But it is impossible here to
+enter upon the most interesting problem of their respective shares on
+the altar sculpture, and how far they were independent of Donatello
+beyond the chiselling and polishing of the bronze; the subject would
+need discussion at too great length. It is, however, worth while to
+refer to some of their work, for which they were exclusively
+responsible. Thus the Fulgosio tomb in the Santo, and the superaltar
+in the Eremitani at Padua (though much disfigured by paint), show
+that Giovanni da Pisa was influenced by Donatello to a remarkable
+degree. The composition of the altar consists of a broad relief of the
+Madonna with three saints on either side of her: below it is a
+_predella_ divided into three panels; above, a frieze of dancing
+children similar to those on the pulpits of San Lorenzo. The
+composition is crowned by a tympanum and _putti_ suggested by
+Donatello's Annunciation. Several of the larger figures might almost
+be the work of Donatello, though the personality of Giovanni makes
+itself felt throughout. Urbano of Cortona was another interesting man.
+He received a commission to decorate the chapel of the Madonna delle
+Grazie in the Sienese Cathedral,[204] and he had to make the Symbols
+of the Evangelists: _nel fregio ... si debi fare IIII. evangelisti in
+forma d'animali_. Donatello himself, _excellentissimus sculptor, seu
+magister sculture_,[205] was commissioned later on to work in this
+chapel; but there can be no doubt that the angel of St. Matthew, now
+preserved in the Opera del Duomo,[206] is the work of Urbano. It is
+the identical design of the emblem on the Paduan altar, pleasant in
+its way, but differing in all the material elements of charm; but it
+is an important document in that it shows a further stage in the
+evolution of Donatello through the hand of a painstaking pupil. Of
+Celino and Valente our knowledge is less--perhaps because there was
+never any friction between the master and his assistants, which gives
+so unenviable a record to the relation of Michael Angelo with his
+pupils.[207] The two inscriptions on the background of the Miracle of
+the Miser's Heart, read as follows: "S. ANT. DI GIOV DE SE E
+SUOR[=U]": and "[=S] DI PIERO E BARTOLOMEO E SU[=O]." They have been
+variously interpreted. Some have suggested that they indicate the
+names of donors, or that the letter s means _sepulchrum_, and that
+they are in the nature of epitaphs. It would seem more probable that
+they are signatures of those who were occupied in giving final touches
+to the chiselling of the background.
+
+[Footnote 203: 7, xii. 1549. Printed in Bottari, ii. 70.]
+
+[Footnote 204: 19, x. 1451. Milanesi, ii. 271.]
+
+[Footnote 205: 17. x. 1457; _ibid._ 295.]
+
+[Footnote 206: Marble, No. 149.]
+
+[Footnote 207: The rules of the Sienese guild of painters provided
+against strife within their own circles by imposing a fine upon
+whoever _dicesse vilania o parole ingiuriose al retore_: Art. 55.
+Milanesi, i. 25.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+TOMB OF GIOVANNI, SON OF GENERAL GATTAMELATA
+
+PADUA]
+
+
+[Illustration: _Alinari_
+
+TOMB OF GENERAL GATTAMELATA
+
+SANT' ANTONIO, PADUA]
+
+
+[Illustration: SHRINE OF ST. JUSTINA
+
+LONDON]
+
+
+[Sidenote: Bellano and the Gattamelata Tombs.]
+
+One other sculptor, Bellano, is said by Vasari to have been so much
+affected by Donatello's influence that the work of the two men was
+often indistinguishable. This places Bellano too high. Scardeone, it
+is true, says he was _mirus coelatura_;[208] but Gauricus is more
+accurate in calling him _ineptus artifex_.[209] He was really a
+lugubrious person, though on rare occasions he made a good thing,
+such, for instance, as the statuette of St. Jerome, belonging to M.
+Gustave Dreyfus. But his large bas-relief of St. Anthony and the
+Mule[210] is stiff and laboured. The tomb of Roycelli, the _monarcha
+sapientie_ in the Santo, with its wealth of poverty-stricken
+decoration, shows that Bellano was a man who could work on a large
+scale, but whose sense of fitness and harmony was weak. So also the
+Roccabonella fragments, in spite of a rugged, rough-hewn appearance,
+show an absence of ethical and intellectual qualities; while the fussy
+and breathless reliefs round the choir of the Santo are farcical in
+several respects. There was another man influenced by Donatello, who
+must be nameless pending further investigation: his style cannot be
+identified with anything on the great altar, but he was a sculptor of
+immense power. He made the so-called shrine of Santa Giustina in
+London,[211] and the two Gattamelata monuments in the Santo. These
+tombs are very simple, consisting of the effigies of the two
+Condottieri, fully armed, but with bared heads. Below is a broad stone
+relief of children holding the scroll between them, as on the Coscia
+tomb in Florence. Above is a lunette containing painting, the whole
+composition being framed by a severe moulding, and surmounted by the
+family crest and badge. They are most remarkable. The two recumbent
+figures lie calm and peaceful: they show the ennobling aspect of
+death, the belief in a further existence. This sculptor with his
+sensitive touch makes us realise the migration. To "make the good end"
+was, indeed, a product of Christianity: antiquity was content if a
+man parted from life "handsomely." Greek art can, of course, show no
+sign of the Christian virtues of death. Like the Egyptians, their
+object was to present the dead as still alive, even where the aid
+of fiction had to be invoked. To them sleep and death are often
+indistinguishable; often again one is left in doubt as to which of the
+figures on a funeral relief represents the departed. With death the
+human body, having ceased to be the home of life, ceased also to be a
+welcome theme of art. These two Gattamelatas, father and son, have
+fought the good fight, and in the carved effigy acquire a statuesque
+repose which is full of dignity and pathos. The famous warrior of
+Ravenna, Guido Guidarelli as he is called, though of a later date, is
+fashioned in the same spirit; showing, moreover, certain peculiarities
+in the armour which one notices in the tombs at Padua. The d'Alagni
+monument in S. Domenico at Naples, and a tomb in the Carmine of Pisa,
+are similar in respect of sentiment. So, too, is the shrine of Santa
+Giustina in London, of which the details as well as the organic
+treatment leave no doubt as to its authorship, so closely does it
+resemble the tomb of Giovanni Gattamelata. It is a work of singular
+refinement and beauty. We see the recumbent figure of the saint on the
+facade of a sarcophagus, at either side of which are little angels
+made by the same hand and at the same date as those on Giovanni's
+tomb. Santa Giustina is modelled in low-relief; the sculptor seems to
+draw in the stone, and the drapery is like linen: not a blanket or
+counterpane, but some thin clinging material which is moulded to the
+form below. In some ways this precious work is analogous to the more
+famous bas-relief belonging to the Earl of Wemyss, the St. Cecilia
+which has been ascribed to Donatello. This wonderful thing is not well
+known: it has been seldom exhibited, and the photograph by which it is
+usually judged is taken from a reproduction moulded a generation ago.
+The original, of rather slaty Lavagna stone, has never been
+photographed, and the cast, many thousands of which exist, entirely
+fails to show the intangible and diaphanous qualities of the original.
+The widespread popularity of the St. Cecilia would (if possible) be
+enhanced were we more familiar with the genuine work itself. It is
+certainly one of the most accomplished examples of Italian plastic
+art; not, indeed, by Donatello himself, for there is a softness and
+glamour which cannot be associated with his chisel. But it has the
+unequalled tenderness and grace for which the Gattamelata tomb is
+so notable, placing its nameless author in the highest ranks of
+Italian sculpture.
+
+[Footnote 208: "De antiq. urbis Patavii," 1560, p. 374.]
+
+[Footnote 209: "De Sculptura," 1504, gathering f.]
+
+[Footnote 210: Marble, in Sacristy of S. Antonio.]
+
+[Footnote 211: Victoria and Albert Museum, No. 75, 1879.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+GENERAL GATTAMELATA
+
+PADUA]
+
+
+[Sidenote: Gattamelata.]
+
+Erasmo Narni, General Gattamelata, died in 1443, and the Venetians,
+whom he had honourably served, granted the privilege of a site in the
+tributary town of Padua for the monument, the cost of which was borne
+by the family of the dead Condottiere. Donatello had to reconstruct
+the anatomy of a horse on a colossal scale. He was faced by the
+formidable task of making the first equestrian bronze statue erected
+in Italy during the Renaissance, and no model existed except the
+antique statue of Marcus Aurelius at Rome. Donatello was, however,
+familiar with the four horses on the facade of San Marco at Venice. He
+undertook to complete the Gattamelata monument by September 1453, but
+the bulk of the casting was finished as early as 1448, though the
+chiselling and chasing of the bronze required further work for two or
+three years. The statue was placed on the pedestal before the agreed
+date, and a conference was held at Venice to settle the price.[212]
+There were four assessors on either side, and it was finally agreed
+that the total payment should be a sum equivalent to about two
+thousand guineas in our own day. Donatello does not seem to have been
+hampered by his lack of experience. The work is adroitly handled, the
+technical difficulty of welding the large pieces of bronze is
+successfully overcome, and the metal is firm and self-supporting.
+There are faults, of course, though the fact that the horse ambles
+need not be considered an error. But the relative proportions of the
+horse and rider are not quite accurately preserved, Gattamelata being,
+if anything, rather below the right scale. The monument is, however,
+so massive and grandiose that criticism seems out of place; indeed, in
+the presence of the statue one feels that everything is subordinated
+to the power and mastery of Gattamelata himself. The general is
+bareheaded, and the strong courageous face is modelled with directness
+and energy. The gesture is commanding, and he rides easily in the
+saddle. Colleone's statue at Venice is superior in many ways: yet the
+radical distinction between them is that whereas Gattamelata is the
+faithful portrait of a modest though successful warrior, it must be
+confessed that Verrocchio makes an idealised soldier of fortune, full
+of bravado and swagger, a _Malbrook s'en va-t-en guerre_ of the
+Quattrocento. But, striking as the contrast of sentiment is,
+noticeable alike in the artist and his model, these two statues remain
+the finest equestrian monuments in the world, their one possible rival
+being Can Grande at Verona. Donatello has decorated Gattamelata's
+saddle and armour with a mass of delicate and vivacious detail, which
+modifies the severity without distracting the eye. The _putti_ which
+act as pommels to the saddle are delightful little figures, and the
+damascened and chased fringes of the armour are excellent. Moreover,
+the armour does not overweight the figure. The horse, of rather a
+thick and "punchy" breed, is well suited to carry a heavy load; he is
+full of spirit, and is neighing and chafing, as the old critics
+pointed out. An enormous wooden horse, some twenty-four feet long, is
+preserved in the Sala della Raggione at Padua. It used to belong to
+the Capodalista family, and has been considered Donatello's model
+for the Gattamelata charger. This is unlikely, and it was more
+probably used in some procession, being ridden by a huge emblematic
+figure. It is improbable that Donatello should have done more than
+sketch the design; but the head of the horse is admirable, with the
+feathery ears and bushy topknot which one finds in the Venice
+quadriga, on Gattamelata's steed, and on the colossal bronze head of a
+horse now preserved in the Naples Museum. This used to be considered
+an antique, but it is now established beyond all question that
+Donatello made it; and it was presented in 1471 to Count Mataloni by
+Lorenzo de' Medici. It is an interesting work, defective in some
+places, and treated similarly to classical examples; indeed, Donatello
+was obviously influenced in all his equine statuary by the most
+obvious classical horses at his command, namely, those at Venice. He
+does not seem to have taken ideas from the Marcus Aurelius, which he
+had not seen for upwards of ten years when commissioned to make the
+Gattamelata. The base of the statue is simple, but scarcely worthy of
+the monument it supports. The pedestal made by Leopardi for the
+Colleone monument is both more decorative and dignified. On
+Donatello's pedestal there are two marble reliefs of winged boys
+holding the general's helmet, badge and cuirass. The reliefs on the
+monument are copies of the maimed originals now preserved in a dark
+passage of the Santo cloister. There must be many statues elsewhere,
+now taken for originals, which are nothing more than replicas of what
+had gradually perished. If one closely examines the sculpture on some
+of the church facades--Siena Cathedral, for instance--one finds that
+most of the statues are only held together by numberless metal ties
+and clamps; and one may safely assume that many of those in really
+good condition have been placed there at later dates.
+
+[Footnote 212: 29, vi. 1453. Donatello is still described as _abitante
+in Padova_.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+COLLEONE
+
+VENICE]
+
+
+[Sidenote: Smaller Reliefs and Plaquettes.]
+
+The Gattamelata reliefs seem to be sixteenth-century work. They show a
+detail of which Donatello and his scholars were fond, namely, the
+Medusa's head. It reappears on the Martelli Patera[213] and on the
+sword-hilt in the Royal Armoury at Turin. The former has been ascribed
+to Donatello, but the attribution is untenable. It is a bronze
+medallion of a Satyr and Bacchante, executed with much skill, but not
+recalling the spirit or handling of Donatello. It is an admirable
+example of the bronze-work which became popular in Northern Italy, to
+which Donatello gave the initial impetus, and which soon became
+ultra-classical in style. The sword-hilt is more interesting, and it
+is signed "Opus Donatelli Flo." Some of the detail has a richness
+which might suggest rather a later date; but the general outline,
+especially the small crouching _putti_, was, no doubt, designed by the
+master. The history of this curious and unusual specimen is unknown,
+and it is outside Donatello's sphere of activity. Michael Angelo, it
+may be remembered, also had the caprice of making a sword for the
+Aldobrandini family. The manufacture of plaquettes, small bronze
+plates which were widely used for decorating caskets, inkstands,
+candlesticks, &c., became a specialised art; and some of these dainty
+reliefs are possibly made from Donatello's own designs. There are,
+however, a few larger bronzes of greater importance in which his
+personality was able to assert itself more freely than in the reduced
+plaquettes. But the work of scholars and imitators has been
+frequently mistaken for Donatello's own productions. Thus the Ambras
+(Vienna) relief of the Entombment, with its exaggerated ideas of
+classical profile, must be the work of a scholar. The Sportello at
+Venice[214] also shows later Renaissance decoration in its rich
+arabesques, though two hands seem to have been employed--the four
+central _putti_ and the two angels being more Donatellesque than the
+remainder. The relief of the Flagellation in Paris[215] is more
+important, as we have a rugged and severe treatment both in the
+subject and its execution: but the summary treatment of such details
+as the hair makes one doubtful if Donatello can have been wholly
+responsible. A somewhat analogous Flagellation in Berlin[216] is the
+work of a clever but halting plagiarist. He has inserted a
+Donatellesque background of arches showing the lines of stonework, and
+a pleasant detached girl who reminds us of the figure on the Siena and
+St. George reliefs. But the imitator's weak hand is betrayed by the
+anatomy of the three principal figures. The positions are those of
+force and energy, but there is no tension or muscular effort, and
+there is no vestige of vigour in the rounded backs and soft limbs.
+Even if Donatello furnished the original sketch, it is quite
+impossible that he should have executed or approved the carving.
+Madame Andre's Martyrdom of St. Sebastian is work in which the
+finishing-touches were probably added by a pupil, but this striking
+composition shows dramatic qualities which one must associate with
+Donatello himself. So also the tondo Madonna belonging to M. Gustave
+Dreyfus, in which the figures are ranged behind a balustrade, making
+the "garden enclosed"--a popular symbolical treatment of the Virgin
+and Child--is doubtless from one of Donatello's designs.[217] Though
+imperfect, the London Deposition or Lamentation[218] is an important
+work, and has a value as showing the methods of fastening figures in
+relief on to the foundation of the background, though in this case the
+bulk of the background is missing. Three other reliefs should be
+mentioned, all representing Christ on the Cross. Of these, the Berlin
+example,[219] though sadly injured since its acquisition for the
+museum, is notable; being, in fact, a genuine sketch by Donatello
+himself, and in a degree comparable to the clay study of the same
+subject in London.[220] The bronze relief, belonging to Comte Isaac de
+Camondo in Paris, is a most remarkable work of the Paduan period.
+Donatello has succeeded in conveying the sense of desolating tragedy
+without any adventitious aid of violence or movement. The whole thing
+is massive, and treated with a studied simplicity which concentrates
+the silence and loneliness of the scene. It is superb, and superior to
+a varied treatment of the same subject in the Bargello. In this
+well-known relief the crowded scene is full of turmoil and confusion.
+In the foreground are the relatives and disciples of Christ. Many
+soldiers are introduced, some of whom closely resemble the tall
+men-at-arms in Mantegna's frescoes at Padua. Donatello's hand is
+obvious in the angels and in the three crucified figures, which are
+modelled with masterly conviction. The rest of the composition has
+been ruthlessly gilded and chased until the statuesque lines are lost
+in a mass of tiresome detail; which is regrettable, for the conception
+is fine.
+
+[Footnote 213: Victoria and Albert Museum, No. 8717, 1863.]
+
+[Footnote 214: Museo Archeologico, Doge's Palace.]
+
+[Footnote 215: Louvre, "His de la Salle Collection," No. 385.]
+
+[Footnote 216: Marble, No. 39 B.]
+
+[Footnote 217: _Cf._ a Donatellesque stucco Madonna beneath a
+_baldachino_ belonging to Signor Bardini, who also possesses a stucco
+Entombment similar to the London bronze.]
+
+[Footnote 218: Victoria and Albert Museum, No. 8552, 1863. Bronze.]
+
+[Footnote 219: Stucco No. 41.]
+
+[Footnote 220: See p. 62.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+MADONNA AND CHILD
+
+SIENA CATHEDRAL]
+
+
+[Illustration: _W.A. Mansell_
+
+"PAZZI" MADONNA
+
+BERLIN]
+
+
+[Sidenote: The Madonnas.]
+
+A whole treatise would be required to describe all the Madonnas which
+have been attributed to Donatello. Within the limits of this volume
+the discussion must be confined to certain groups which are directly
+related to him, ignoring a much larger number of subordinate interest.
+The tendency is to ascribe to Donatello many more than he can possibly
+have made--varying inversely from the attitude of modern criticism,
+which has asserted that not twenty paintings by Giorgione have
+survived. Hundreds of artists must have made these Madonnas, of which
+only a small minority are in bronze or marble. Many names of sculptors
+are recorded to whom we can only attribute one or two works; the
+remainder being generically ascribed to the school of some great man,
+and often enough to the great man himself. The bulk of these reliefs
+of the Madonna and Child are in stucco, terra-cotta, carta pesta and
+gesso--cheap malleable materials which were easily and rapidly worked:
+the reliefs were manufactured in great numbers for the market. Then
+again, well-known works were cast, and small differences in colour and
+finish often gave them the semblance of original work. Vasari says
+that almost every artist in Florence possessed a cast of Pollaiuolo's
+battle-piece.[221] Such facsimiles are eagerly sought after nowadays,
+and are treated as genuine works of the sculptor. It must also be
+remembered that during the last decades there has been a systematic
+multiplication of these reliefs, and that forgeries can be found in
+most of the great collections of Europe. The first difficulty
+encountered in trying to discept between Donatello and his school, is
+that authenticated examples from which to make our inductions are very
+rare. Donatello certainly made Madonnas in relief: Vasari mentions
+half a dozen; Neroccio, the Sienese sculptor, possessed _una Madonna
+di gesso di Donatello_.[222] There are Madonnas on the tombs of Pope
+John and Cardinal Brancacci. The latter shows no trace of Donatello's
+craft, and the former is of indifferent merit, and was certainly not
+made by Donatello alone. There are two Madonnas at Padua, one the
+large altar statue, the other a tiny relief three inches in diameter
+on one of the bronze Miracle panels. The sources of stylistic data are
+therefore most scanty. One may say generally that in the authenticated
+Virgins as well as in the other heads of women, Donatello makes a
+marked nasal indenture, thus separating him from those later men who
+drew their heads with the classical profile, showing a straight and
+continuous line from the forehead down the nose. But even this cannot
+be pressed too far. As regards the Christ, Donatello seems to preserve
+the essence and immaturity of childhood. His treatment of the Child is
+never hieratic, and it is always full of warm human sentiment. The
+Paduan relief, for instance, is almost a _genre_ representation of a
+mother and child, domestic and intimate, with nothing but the halos to
+indicate the higher meaning of the theme. Having said so much, we come
+to the other Madonnas which are assigned on various grounds to
+Donatello: those known as the Madonnas Pazzi, Orlandini, Siena
+Cathedral, Pietra Piana; the London oval, the Madonna of the Rose,
+the Capella Medici group, and the Piot and Courajod Madonnas in the
+Louvre. All of these have one or more features which conflict with our
+ideas of Donatello. It is impossible to say that any one of them must
+inevitably be by Donatello himself; none of them carry their own
+sign-manual of authenticity. The Pazzi Madonna in Berlin[223] is now
+generally ascribed to Donatello himself, and certainly no more
+grandiose version of the subject exists. The Virgin is holding up the
+Child close to her beautiful face; she broods over him, and the
+countenance is full of foreboding. The solemnity of the large Paduan
+Madonna is visible here, and it is only made to apply to the Virgin,
+for the Child is a typical _bambino_. So, too, in the relief outside
+the transept door of Siena Cathedral we find this grim careworn
+expression and the sense of impending drama: the massacre of the
+Innocents is still to come. This relief, a marble _tondo_, is in such
+abnormally perfect condition that one wonders if it may not be a later
+_replica_ of some original which the atmosphere disintegrated.
+Donatello must have provided the design; at any rate, it is difficult
+to suggest an alternative name. The four winged cherubs are, however,
+lifeless and ill-drawn, while the Christ is more like some of the
+_putti_ on the Aragazzi reliefs than Donatello's typical boy. The
+share of Michelozzo in the reliefs ascribed to Donatello is larger
+than has been hitherto acknowledged. The Orlandini Madonna[224] yearns
+like a tigress as she holds up her child and gazes into its face; here
+again we have a composition for which Donatello must have been
+primarily responsible, though the full profile is attributable to
+inefficient handling of the marble rather than to deliberate
+intention. Signor Bardini's version of this relief has a delicacy
+lacking in the original; one touch of colour removes a certain
+awkwardness of the profile. The Madonna in the Via Pietra Piana at
+Florence belongs to a different category. Here again the design is
+Donatellesque, but the face of the Madonna has a dull and vacant look;
+not only is it without the powerful modelling of the Pazzi or Siena
+reliefs, but it shows none of the sentiment for which those two
+Madonnas are so remarkable. There are several reproductions in Berlin
+and London,[225] all differing from the Florentine version in the
+drapery of the head-dress. Closely related to this Madonna is another
+composition which only exists in soft materials.[226] The Virgin, with
+long wavy hair, looks downwards towards her Child, who is looking
+outwards to the spectator. This is a work of merit, with something
+attractive in the anxious and clinging attitude of the Madonna. The
+large clay Madonna and Child in London,[227] the Christ sitting in a
+chair and the Virgin with hands joined in worship, has been the
+subject of much controversy. There are good grounds for doubting its
+authenticity. The angular treatment of the head and a dainty roundness
+of the wrist often indicate that Bastianini had a share in this class
+of work.[228] This relief has all the merits and demerits of the
+circular Piot Madonna in the Louvre.[229] Here, too, the handling of
+Bastianini has been detected, though there is a clumsiness which is
+seldom seen in the productions of that distinguished artist. The frame
+and the background, which are integral features of the composition,
+can leave no doubt as to the origin of this work. But the Piot relief
+has an interest which the London terra-cotta cannot boast, for a
+fifteenth-century original from which the copyist worked is in
+existence, now belonging to Signor Bardini. This is a tondo Madonna of
+uncoloured stucco, of no particular value in itself; but it is the
+model from which the Piot sophistication was contrived; or else it is
+a cast from the lost original of marble. It reveals all the whims of
+the copyist: the treatment of the hands, the lissome tissue of the
+drapery, and the angular structure of the skull. A less interesting
+forgery is the marble Madonna in London.[230] Three reproductions of
+the lost Donatellesque original exist, the Berlin copy[231] being in
+stucco, that at Bergamo terra-cotta. Signor Bardini has an effaced and
+poor copy of the same relief, in which the hand of the Madonna is
+obviously meant to be holding something; but the stucco has been much
+rubbed away and one cannot tell the original intention of the
+sculptor. But the two other genuine versions are in better condition
+and supply the answer, showing that the Virgin held a large rose
+between her fingers. The man who made the London relief copied from
+the incomplete version, and carved an empty meaningless hand with the
+fingers grasping something which does not exist.
+
+[Footnote 221: v. 100.]
+
+[Footnote 222: Mentioned in his will. He died in 1500. Milanesi, iii.
+p. 8.]
+
+[Footnote 223: Marble, No. 39. Versions in soft materials exist in the
+Louvre, in the Andre and Bardini Collections, and a variant in the
+Victoria and Albert Museum, No. 7590, 1861.]
+
+[Footnote 224: Marble, Berlin Museum.]
+
+[Footnote 225: Victoria and Albert Museum, No. 7412, 1860; Berlin
+Museum; collections of Herr von Beckerath and Herr Richard von
+Kaufmann.]
+
+[Footnote 226: Louvre, Berlin Museum; Verona, in the Viccolo Fogge;
+_cf._ also the relief under the archway in the Via de' Termini,
+Siena.]
+
+[Footnote 227: Victoria and Albert Museum, No. 57, 1867.]
+
+[Footnote 228: Giovanni Bastianini, 1830-68, though the _doyen_ of
+forgers, did not profit by his dexterity, and died almost penniless.]
+
+[Footnote 229: Terra-cotta.]
+
+[Footnote 230: Victoria and Albert Museum, No. 8376, 1863.]
+
+[Footnote 231: No. 53 E. Bergamo, Morelli Collection, No.
+53.]
+
+[Illustration: _Alinari_
+
+MADONNA AND CHILD
+
+LOUVRE (NO. 389), PARIS]
+
+The little oval Madonna in London[232] is a work of much interest. It
+is coloured stucco, and Dr. Bode, who has dated it as early as
+1420-30, believes it to be the first example of the _Santa
+conversazione_ in Italian plastic art. A variant belonging to Dr.
+Weisbach in Berlin is of equal importance, and both are probably
+original works and not casts. The Berlin relief is not so thickly
+painted as the London medallion, and shows signs of the actual
+modelling. There are contradictions in these valuable works. The
+music-making angels are like a figure on the Salome relief at Siena:
+but they are also related to Luca della Robbia's reliefs on the
+Campanile, and to a terra-cotta Madonna in London[233] (which reminds
+one of the Pellegrini Chapel); Matteo Civitale uses a similar type on
+the tomb of St. Regulus at Lucca; while the crowned saint of the
+London version was copied at a later date on a well-known plaquette
+forming the lid of a box of which several examples exist.[234] The
+figure of the Madonna and Child also suggests another hand; and with
+the exception of the stone relief in the Louvre, and another derived
+from it at Padua,[235] it is the only case in which the Virgin is not
+shown in profile. These latter works are bold and vigorous, and must
+be ultimately referred to Donatello, the head of the Madonna being
+rendered by fluent and precise strokes of the chisel. A bronze relief
+in the Louvre (No. 390), which came from Fontainebleau, has
+Donatellesque motives; but the spiral coils of hair, and still more
+the fact that the Virgin's breasts are hammered into the likeness
+of _putti_'s faces--wholly alien to Donatello's serious
+ideas--sufficiently prove it to belong to the later Italian school
+which flourished at the French Court. The Courajod Madonna (Louvre,
+389) is modestly called a schoolpiece; but it is a work of first-class
+importance, for which Donatello is to be credited. This is a very
+large relief in painted terra, the Madonna being in profile to the
+left, with a wan and saddened expression. The arm is stiff and wooden,
+while the undercutting of the profile, like that of the Siena tondo,
+is so pronounced that, when standing close to the wall on which the
+relief is fixed, one can see the Virgin's second eye--unduly prominent
+and much too near to the nose. This is a needless and distracting
+mannerism, though, of course, the blemish is only noticeable from one
+point of view, being quite invisible as one sees the relief from the
+front, or in a photograph. The Berlin Museum has another large Madonna
+comparable for its scale and rich colouring to the Courajod relief.
+This came from the convent of Santa Maria Maddalena de' Pazzi at
+Florence.[236] The Child, draped in swaddling-clothes, stands up
+leaning against the Virgin, who looks downwards. Above them are four
+cherubs, full of character and vivacity, the whole composition being
+typical of Donatello, though naturally enough much of the primitive
+colouring has disappeared during the last four centuries. One other
+group remains to be noticed, founded upon the large marble relief in
+the Capella Medici of Santa Croce.[237] We detect Donatello's ideas,
+but no sign of his handiwork: neither was he responsible for the
+composition, of which the governing feature is a total absence of his
+masterly occupation of space. There are also florescent details in the
+halos, drapery, and so forth, which are closer to Agostino di Duccio
+than to Donatello. Though not all by the same sculptor, these reliefs
+are most interesting and suggestive, showing the growth and activity
+of a small school which drew some inspiration from Donatello while
+preserving its own individuality. We find an intricate treatment of a
+very simple idea. As compositions, Donatello's Madonnas were always
+simple. But our knowledge of the subject is still empirical, and until
+the problem has been further sifted by the most severe tests of
+research and criticism, our opinions as to Donatello's personal share
+in the array of Madonnas must remain subject to revision.
+
+[Footnote 232: Victoria and Albert Museum, No. 93, 1882.]
+
+[Footnote 233: _Ibid._ No. 7594, 1861.]
+
+[Footnote 234: One was in the Spitzer Collection, another belongs to
+M. Gustave Dreyfus.]
+
+[Footnote 235: No. 294, Davillier bequest; and in the entrance hall to
+the Sacristy of the Eremitani at Padua.]
+
+[Footnote 236: Terra-cotta No. 39a.]
+
+[Footnote 237: The others are Victoria and Albert Museum, No. 7624,
+1861, marble. Berlin Museum, stucco. Madame Andre, marble, finer than
+the London version. Marquise Arconati-Visconti, Paris, marble, and a
+rough uncoloured stucco in the Casa Bardini.]
+
+       *       *       *       *       *
+
+[Illustration: _W.A. Mansell_
+
+MADONNA (BERLIN)
+
+FROM SANTA MARIA MADDALENA DEI PAZZI, FLORENCE]
+
+
+[Illustration: _Alinari_
+
+SIDE PANEL OF PULPIT
+
+SAN LORENZO, FLORENCE]
+
+
+[Sidenote: The Pulpits of San Lorenzo.]
+
+Donatello was sixty-seven when he returned from Padua. He seems to
+have been unsettled during his later years, undertaking ambitious
+schemes which he did not execute, and hesitating whether Florence or
+Siena should be the home of his old age. The bronze pulpits of San
+Lorenzo[238] are the most important works of this period, and they
+were left unfinished at his death. Donatello was an old man, and the
+work bears witness to his advancing years. Bandinelli says that the
+roughness of the modelling was caused by failing eyesight,[239] and it
+is obvious that, notwithstanding the signs of feverish activity,
+and an apparent desire to get the work finished, much was left
+uncompleted at his death. The pulpits were not even erected until a
+later date; some of the panels were subsequently added in wood, and
+others do not correctly fit into the structural design. But the genius
+of Donatello shines through the finishing-touches of his assistants.
+Drama is replaced by tragedy; and in these panels the concluding
+incidents of the Passion are pictured with intense earnestness and
+pathos. But Donatello would not allow gloom to monopolise his
+composition. The paradox of the pulpits consists in the frieze of
+_putti_ above the reliefs: _putti_ who dance, play, romp, and run
+about. Some of them are busily engaged in moving a heavy statue:
+others are pressing grapes into big cauldrons. The boy dragging along
+a violoncello as big as himself is delightful. The contrast afforded
+by this happy and buoyant throng to the unrelieved tragedy below is
+strikingly unconventional; and the spirit of both portions is so well
+maintained that there is neither conflict of emotion nor sense of
+incongruity. The scenes (including those added at a later date) are
+sixteen in number. Except the later reliefs of St. John, St. Luke, the
+Flagellation, and the Ecce Homo, all are of bronze, upon which more
+care seems to have been expended than on the clay models from which
+they were cast. On the southern pulpit the scene on the Mount of
+Olives shows the foreshortened Apostles sleeping soundly as in
+Mantegna's pictures. Christ before Pilate and Christ before Caiaphas
+are treated as different episodes, in two similar compartments of one
+great hall, separated by a large pier. The Crucifix and the Deposition
+are, perhaps, the most remarkable of all these reliefs: corresponding
+in many ways to works already described; but not having been
+over-decorated like the Bargello relief, show greater dignity and less
+confusion. The background of the Deposition is flat, but broken here
+and there by faintly-indicated horsemen; naked boys riding on shadowy
+steeds like those vague figures which seem to thread their way through
+some panel of Gothic tapestry. There is an element of _stiacciato_ in
+the Entombment, giving it the air of a mystery rather than of an
+historical fact. The draperies are thin and graceful, suited to the
+softer modelling of the limbs: some of the faces are almost dainty.
+Passing to the northern pulpit, we come to three scenes divided by
+heavy buttresses, but unified by figures leaning against them, and
+overstepping the lateral boundaries of the reliefs. The subjects are
+the Descent into Limbo, the Resurrection and the Ascension. The link
+between the two former is a haggard emaciated Baptist. The Christ is
+old and tired. The people who welcome him in Limbo are old and tired,
+feebly pressing towards the Saviour. The Roman guards lie sleeping,
+self abandoned in their fatigue, while Christ, wearied and suffering,
+steps from the tomb with manifest effort. One feels that the physical
+infirmities of the artist are reflected in these two works, so vivid
+in their presentment of the heavy burden of advanced years. But in the
+Resurrection a fresh note is struck. The bystanders are gathered round
+the Christ, who gives the Benediction. His robe is held back by little
+angels, and the scene is pervaded by an atmosphere of staid and
+decorous calm. Donatello has treated this relief in a more archaic
+spirit. The absence of paroxysms of acute grief, giving a certain
+violence to other parts of the pulpits, makes the contrast of this
+relief more effective; but, even so, this scene of the Ascension is
+fraught with dramatic emphasis. The Descent of the Holy Ghost is
+less interesting. There is a monotony in the upraised hands, while the
+feeling of devotional rhapsody is perhaps unduly enforced. The relief
+of the Maries at the Tomb, which occupies the western end of this
+pulpit, is almost Pisanesque in the relative size of the people to the
+architecture. There is a combination of trees and pilasters seeming to
+support the long low roof beneath which the incident is portrayed. A
+curious feeling of intimacy is conveyed to the spectator. The pulpits
+are full of classical details--far more so than in anything we find at
+Padua. It is very noticeable in the armour of the soldiers, in their
+shields bearing the letters S.P.Q.R. and the scorpion, and in the
+antique vases which decorate the frieze. The centaurs holding the
+cartel on which Donatello has signed his name are, of course,
+classical in idea, while the boys with horses are suggested by the
+great Monte Cavallo statues.[240] Then, again, the architecture is
+replete with classical forms; in one relief Donatello introduces the
+Column of Trajan. But here, as elsewhere, the classicisms are held in
+check, and never invade or embarrass the dominant spirit of the
+Quattrocento. How far Donatello was helped by assistants must remain
+problematical in the absence of documentary evidence. Bellano and
+Bertoldo were in all probability responsible for a good deal. In the
+relief of St. Laurence it is possible that Donatello's share was
+relatively small. Moreover, one part of the frieze of children is so
+closely allied to the work of Giovanni da Pisa at Padua, that one is
+justified, on stylistic grounds, in suggesting that he may also have
+been employed. But it is certain that the share of Bellano must have
+been limited to the more technical portion of the work, for there is
+happily nothing to suggest the poverty of his inventive powers. These
+pulpits are very remarkable works; they have an inexhaustible wealth
+of detail in which Donatello can be studied with endless pleasure. The
+backgrounds are full of his architectural fancy, and the sustained
+effort put forth by Donatello is really astonishing. But he was an
+octogenarian, and there are signs of decay. Michael Angelo and
+Beethoven decayed. Dante and Shakespeare were too wise to decay;
+Shelley and Giorgione died too young. But the sculptor's intellect
+must be reinforced by keen eyes and a steady hand: of all artists,
+Nature finds him most vulnerable. Donatello's last work shows the
+fatigue of hand and eye, though the intellect never lost its ardent
+and strenuous activity. There was no petulance or meanness in his old
+age, no decadence; he merely grew old, and his personality was great
+until the end.
+
+[Footnote 238: Properly speaking, they are ambones. They stand in the
+west end of the nave of the church close to the junction of the
+transepts.]
+
+[Footnote 239: 7, xii. 1547. "_... Donato non fece mai la piu brutta
+opera_," &c. Letter printed in Bottari, i. 70.]
+
+[Footnote 240: It is probable that these famous horses were mere
+wrecks in the fifteenth century. At any rate, Lafreri's engraving of
+1546 shows one of them without breast or forelegs, the remainder of
+the horse being nothing but a large pillar of brick. Herr von Kaufmann
+has an admirable statuette of Donatello's latter period modelled from
+the horses on the San Lorenzo frieze. _Cf._ also Mantegna in the
+Madonna di San Zeno, Verona.]
+
+       *       *       *       *       *
+
+[Illustration: _Alinari_
+
+END PANEL OF PULPIT
+
+SAN LORENZO, FLORENCE]
+
+
+[Sidenote: Donatello's Influence on Sculpture.]
+
+The influence of Donatello on his three greatest contemporaries was
+small. Jacopo della Quercia always retained his own massive style.
+Luca della Robbia and Ghiberti--the Euphuist of Italian
+sculpture--were scarcely affected by the sterner principles of
+Donatello. All four men were, in fact, exponents of distinct and
+independent ideas, and handed on their traditions to separate groups
+of successors. Nanni di Banco and Il Rosso were, however, impressed
+by Donatello's monumental work, while other sculptors, such as Simone
+Fiorentino, Vecchietta, Michelozzo, Andrea del Aquila and Buggiano
+(besides much anonymous talent) were largely influenced by him. It is
+owing to the fact that Donatello was the most influential man of his
+day that so many "schoolpieces" exist.[241] The influence on his
+successors is less easily determined, except so far as concerns the
+men who worked for him at Padua, together with Riccio, the most
+skilful bronze caster of his day, who indirectly owed a good deal to
+Donatello. But Urbano da Cortona and his colleagues produced little
+original work after their return from Padua: their training seems to
+have merged their individuality into the dominant style of Donatello;
+and much of their subsequent work is now ascribed to Donatello or his
+_bottega_. Verrocchio, whom Gauricus calls Donatello's rival, owes
+little or nothing to the elder man, and the versatile sculptors who
+outlived Donatello, such as Rossellino, Benedetto da Maiano, Mino da
+Fiesole and Desiderio, show relatively small traces of his influence.
+But Donatello's sculpture acted as a restraining influence, a tonic:
+it was a living protest against flippancy and carelessness, and his
+influence was of service even where it was of a purely negative
+character. Through Bertoldo Donatello's influence extended to Michael
+Angelo, affecting his ideas of form: But Jacopo della Quercia, who was
+almost as great a man as Donatello, is the prototype of Michael
+Angelo's spirit. Jacopo ought to have founded a powerful, indeed an
+overwhelming school of sculpture at Siena. Cozzarelli, Neroccio, and
+the Turini just fail to attain distinction; but their force and
+virility should have fructified Jacopo's ideas and developed a supreme
+school of monumental sculpture. As regards Michael Angelo, there can
+be no question of his having been influenced by Donatello's St. John
+the Evangelist and the Campanile Abraham. The _Madonna delle
+treppe_[242] in a lesser degree is suggested by Donatello. The Trinity
+on the niche of St. Louis again reminds one of Michael Angelo's
+conception of the Eternal Father. His Bacchus in Berlin[243] was held
+to be the work of Donatello himself, and the Pieta in St. Peter's has
+also a reminiscence of the older master. But in all these cases the
+resemblance is physical. The intellectual genius of Michael Angelo
+owed nothing to Donatello. Condivi records one of Michael Angelo's
+rare _obiter dicta_ about his predecessors[244] to the effect that
+Donatello's work, much as he admired it, was inadequately polished
+owing to lack of patience. The criticism was not very sagacious, and
+one would least expect it from Michael Angelo, of whose work so much
+was left unfinished. But, at any rate, Donatello commanded his
+approval, and contributed something to one of the greatest artists of
+the world. But the ideals of Michael Angelo were too comprehensive to
+be derived from one source or another, too stupendous to spring from
+individuals. He sought out the universal form: he took mankind for his
+model; and while he typified humanity he effectively denationalised
+Italian sculpture.
+
+[Footnote 241: _E.g._, work wrongly attributed to Donatello: the
+figure of Plenty in the courtyard of the Canigiani Palace, Florence;
+the Lavabo in San Lorenzo; the two figures on the famous silver altar
+at Pistoja; the bronze busts in the Bargello; the font at Pietra
+Santa; chimney-pieces, gateways, _stemme_, and numberless Madonnas and
+small bronzes.]
+
+[Footnote 242: Casa Buonarroti, Florence.]
+
+[Footnote 243: From the Gualandi Collection. It is attributed by some
+to a Neapolitan sculptor.]
+
+[Footnote 244: "Vita," 1553, p. 14.]
+
+       *       *       *       *       *
+
+[Sidenote: Early Criticism of Donatello.]
+
+Donatello's activity is the best testimonial to the appreciation of
+his work during his lifetime. Sabba del Castiglione was proud to
+possess a specimen of Donatello's sculpture.[245] Commissions were
+showered on him in great numbers, and Gauricus says that he produced
+more than all his contemporaries.[246] Flavius Blondius of Forli
+compares him favourably with the ancients.[247] Bartolomeo Fazio
+warmly praised Donatello, his junior.[248] Francesco d'Olanda[249] and
+Benvenuto Cellini[250] also admired him. Lasca credited Donatello with
+having done for sculpture what Brunellesco did for architecture:
+
+    "_E Donatello messe la scultura
+       Nel dritto suo sentier ch' era smarrita
+     Cosi l'architettura
+       Storpiata, e guasta alle man' de' Tedeschi...._"
+
+and so forth.[251] Another early poem, the _Rappresentazione_ of King
+Nebuchadnezzar, shows the great popularity of Donatello in the humbler
+walks of life.[252] Vasari's rhetoric led him to say that Donatello
+was sent by Nature, indignant at seeing herself caricatured.[253]
+Bocchi claims that, having equalled the ancients and surpassed the
+sculptors of his own day, Donatello's name will live in the perpetual
+memory of mankind.[254]
+
+[Footnote 245: "Ricordi," 1554, p. 51.]
+
+[Footnote 246: "De Sculptura," 1504, gathering f. "Donatellus ...
+_aere ligno, marmore laudatissimus, plura hujus unius manu extant
+opera, quam semel ab eo ad nos caeterorum omnium_."]
+
+[Footnote 247: "Italia Illustrata," Bale, 1531, p. 305. "_Decorat
+etiam urbem Florentiam ingenio veterum laudibus respondente, Donatello
+Heracleotae Zeusi aequiparandus, ut vivos, juxta Virgilii verba, ducat
+de marmore vultus._"]
+
+[Footnote 248: "De Viris illustribus," Florence ed. 1745, p. 51.
+"_Donatellus ... excellet non aere tantum, sed etiam marmore
+notissimus, ut vivos vultus ducere, et ad antiquorum gloriam proxime
+accedere videatur._"]
+
+[Footnote 249: "Dialogues," Raczynski ed. Paris, 1846, p. 56.]
+
+[Footnote 250: "Due Trattati," ed. Milanesi, 1857, passim.]
+
+[Footnote 251: "Due Vite di Brunellesco," p. 142.]
+
+[Footnote 252: Semper, 321.]
+
+[Footnote 253: "Lem.," iii. 243, in first edition.]
+
+[Footnote 254: 1677 edition.]
+
+       *       *       *       *       *
+
+[Sidenote: Character and Personality of Donatello.]
+
+Donatello must be judged by his work alone. His intellect is only
+reflected in his handicraft. We know little about him, but all we know
+bears tribute to his high character. The very name by which he was
+called--Donatello--is a diminutive, a term of endearment. His
+generosity, his modesty, and a pardonable pride, are recorded in
+stories which have been generically applied to others, but which were
+specific to himself. He shared his purse with his friends:[255] he
+preferred plain clothing to the fine raiment offered by Cosimo de'
+Medici;[256] and he indignantly broke the statue for which a Genoese
+merchant was unwilling to pay a fair price.[257] He was recognised as
+a man of honourable judgment, and he was called upon to act as
+assessor several times. The friend of the Medici, of Cyriac of Ancona,
+of Niccolo Niccoli, the greatest antiquarian of the day, and of Andrea
+della Robbia, one of the pall-bearers at his funeral, must have been a
+man of winning personality and considerable learning. But he was
+always simple and naive: _benigno e cortese_, according to
+Vasari,[258] but as Summonte added with deeper insight, his work was
+far from simple.[259] He is one of the rare men of genius against whom
+no contemporary attack is recorded. He was content with little;[260]
+his life was even-tenored; his work, though not faultless, shows a
+steady and unbroken progress towards the noblest achievements of
+plastic art.
+
+[Footnote 255: Gauricus, b. 1.]
+
+[Footnote 256: Vespasiano de' Bisticci, Vite.]
+
+[Footnote 257: "Vasari," iii. 253.]
+
+[Footnote 258: _Ibid._ iii. 244.]
+
+[Footnote 259: "_Fo in Fiorenza ad tempo de' nostri padri Donatello
+huomo raro, semplicissimo in ogni altra cosa excepto che in la
+scultura_."]
+
+[Footnote 260: Matteo degli Orghani, writing in 1434, says: "_Impero
+che e huomo ch' ogni picholo pasto e allui assai, e sta contento a
+ogni cosa_." Guasti, iv. 475. Donatello died in 1466, probably on
+December 15. He was buried in San Lorenzo at the expense of the
+Medici. Masaccio painted his portrait in the Carmine, but it is lost.
+The Louvre panel No. 1272, ascribed to Paolo Ucello, shows the
+painter, Manetti, Brunellesco, and Donatello. Monuments have been
+recently erected to the sculptor in his native city. For Donatello's
+homes in Florence, see "Misc. Fiorentina," vol. i. No. 4, 1886, p. 60,
+and "Miscellanea d'arte," No. 3, 1903, p. 49.]
+
+
+
+
+APPENDICES
+
+
+
+
+APPENDIX I
+
+WORK LOST OR NOT EXECUTED
+
+
+_Padua._--For the Santo altar, a figure of God the Father, stone; a
+Deposition and the remaining bas-reliefs mentioned in the "Anonimo
+Morelliano;" a St. Sebastian, wood; a Madonna in the church of the
+Servi.
+
+_Ferrara._--Donatello probably worked there; in 1451 he visited the
+town as an assessor. Gualandi, iv. 35.
+
+_Modena._--Donatello also visited this town in 1451, and received a
+first instalment towards the equestrian statue of Borso d'Este.
+Campori, "Gli artisti Italiani." Modena, 1855, p. 185.
+
+For _Mantua_ he made a large number of works, including columns,
+capitals, images of the Madonna in stone and terra-cotta, a St. Andrew
+in tufo, &c.; also the design for a shrine of St. Anselm. See
+documents in Archivio Storico Lombardo, 1886, p. 666. At _Rome_ a St.
+John Baptist, "Una testa" in the Minerva Church, and the portrait of
+Canon Morosini in Santa Maria Maggiore.
+
+At _Siena_ a Goliath, a silver crucifix, gates for the Cathedral, and
+a marble statue of San Bernardino.
+
+At _Ancona_ and _Orvieto_ statues of St. John the Baptist.
+
+At _Florence_ the following works are lost: the Dovizia, a figure of
+Plenty, which stood in the Mercato Vecchio; two bronze heads for the
+Cantoria; the Colossi for the Cathedral; four large stucco Saints in
+San Lorenzo; a statue with drapery of gilded lead made with
+Brunellesco. San Rossore for Ogni Santi; a reliquary of Santa Verdiana
+(Richa, ii. 231); Albizzi tombs. The Cathedral gates were never made.
+Bocchi, Cinelli, Vasari, and Borghini mention a large number of
+smaller works now unidentified; plaquettes, Madonnas, crucifixes,
+heraldic shields, busts and reliefs.
+
+
+
+
+APPENDIX II
+
+DOCUMENTS
+
+
+These are printed as specimens of the original authorities upon which
+our authentic knowledge of Donatello is based.
+
+
+A.
+
+Denunzia de' Beni of 1427, stating Donatello's home, his substance,
+his partnership with Michelozzo; referring also to the bronze relief
+for the Siena Font and the figure of San Rossore. Also a list of the
+sculptor's family. (Gaye, i. 120.)
+
+Donato di nicholo di betto, intagliatore, prestanziato nel quartiere
+di Sco. Spirito, gonfalone nichio, in fior. 1. s. 10 den. 2. Sanza
+niuna sustanza, eccietto un pocho di maserizie per mio uso edella mia
+famiglia.
+
+E piu esercito la detta arte insieme e a conpagnia con Michelozzo di
+bartolomeo, sanza niuna chorpo, salvo flor. 30 in piu ferramenti et
+masserizie per detta arte.
+
+E di detta conpagnia e bottegha tralgho quella sustanza et in quello
+modo, che per la scritta della sustanza di Michelozzo sopradetto
+appare nel quartiere di Sco. Giovanni G. dragho, che dice in lionardo
+di bartolomeo di gherardo e frategli. Eppiu o avere dall' operaio di
+duomo di Siena fior. 180 per chagione duna storia dottone, gli feci
+piu tempo fa.
+
+Eppiu dal convento e frati dogni santi o avere per chagione duna meza
+fighura di bronzo di Sco. rossore della quale non sa fatto merchato
+niuno. Chredo restare avere piu che fior 30.
+
+truovomi con questa famiglia in chasa:
+
+Donato danni 40.
+M^a Orsa mia madre 80.
+M^a Tita mia sirochia, vedova, sanza dote 45.
+Giuliano figliuolo di detta M^a tita atratto 18.
+
+Sto a pigione in una chasa di ghuglielmo adimari, posta ne chorso
+degli adimari e nel popolo Sco. Cristofano,--paghone fior. 15 l'anno.
+
+
+B.
+
+The contract for the payment of 1900 florins to Donatello in respect
+of the Bronze Gates for the Sacristy doors of the Cathedral, a work
+which was subsequently entrusted to Luca della Robbia. (Semper, p.
+284.)
+
+21. ii. 1487. Item commiserunt Nicolao Johannotii de Biliottis et
+Salito Jacobi de Risalitis duobus ex eorum officio locandi Donato
+N.B.B. civi Florentino magistro intagli faciendo duas portas de bronzo
+duabus novis sacristiis cathedralis ecclesie florentine pro pretio in
+totum flor. 1900 pro eo tempore et cum illis pactis et storiis et
+modis pro ut eis videbitur fore utilius et honorabilius pro dicta
+opera et quidquid fecerint circa predictum intelligatur et sit ac si
+factum foret per totum eorum officium.
+
+
+C.
+
+Payment for casting the bronze statue of St. Louis for the Paduan
+altar; also for two of the Miracle reliefs and two symbols of the
+Evangelists. (Gloria.)
+
+19. vi. 1447. E a di dicto ava M^o Andrea dal Mayo per far getare duy
+de i miracholli de S. Antonio e dui guagnelista e un S. Luixe. i quali
+va in lanchona de laltaro grande--lire 45 soldi 12.
+
+
+D.
+
+Payment to Donatello and some of his assistants (Gloria.)
+
+11. ii. 1447. E a di ii dicto ave Donatello da Fiorenza per so nome de
+luy e de urbano e de Zuan da Pixa e de Antonio Celino e de Francesco
+del Vallente su garzon e de Nicolo depentor so desipollo over garzon
+per parte over sora la anchona over palla el dicto e i dicti de
+(_i.e._, devono) fare al altaro grande del curo (_i.e._, coro) del
+santo,--lire cento e soldi dexe.
+
+
+
+
+APPENDIX III
+
+BOOKS OF REFERENCE
+
+
+Albertini, "Memoriale di molte statues," 1863 (1st ed., Florence,
+1510).
+
+Anonimo Morelliano, "Notizie d'opere di disegno," written about 1530,
+1884 (1st ed. 1800).
+
+Bocchi, F., "Eccellenza della statua di San Giorgio," Florence, 1584;
+edited by Cinelli, "Bellezze della citta di Firenze," 1677 (1st ed.
+1592).
+
+Bode, W., "Donatello a Padoue," Paris, 1883; "Florentiner Bildhauer
+der Renaissance," Berlin, 1902.
+
+Boito, Camillo, "L'Altare di Donatello," Milan, 1897.
+
+Borghini, "Riposo," Florence, 1730 (1st ed. 1586).
+
+Bottari, G., "Lettere pittoriche," 8 vols. 1822 (1st ed.).
+
+Cellini, B., "Due Trattati," edited by Carlo Milanesi, 1857.
+
+Cicognara, "Storia della scultura," Venice, 1823, 7 vols.
+
+Gauricus, P., "De Sculptura," Florence, 1504.
+
+Gaye, "Carteggio inedito d'artisti," Florence, 1839, 3 vols.
+
+Ghiberti, L., "Commentaries" in Vasari, vol. i.
+
+Gloria, Michael Angelo, "Donatello fiorentino e le sue opere, ... in
+Padova," Padua, 1895.
+
+Gnoli, Article on "Donatello in Rome"; "Arch. storico dell' arte,"
+1888.
+
+Gonzati, "La Chiesa di S. Antonio di Padova," 1852, 2 vols.
+
+Gualandi, "Memorie," Bologna, 1840.
+
+Lindsay, Lord, "Christian Art," 1885, 2 vols.
+
+"L'Osservatore Fiorentino," 1821, 3 vols. (1st ed. 1797).
+
+Lusini, V., "Il San Giovanni di Siena," Florence, 1901.
+
+Milanesi, C., "Documenti dell' arte Senese," Siena, 1854, 3 vols.
+
+Milanesi, G., "Catalogo delle opere di Donatello," Florence, 1888.
+
+Molinier, E., "Les Plaquettes," Paris, 1886, 2 vols.
+
+Muentz E., "Les Precurseurs de la Renaissance," Paris, 1882;
+"Donatello," Paris, 1885.
+
+Perkins, C., "Tuscan Sculptors," 1864, 2 vols.
+
+Reymond, M., "La Sculpture Florentine," Florence, 1898.
+
+Richa, "Notizie istoriche," Florence, 1754, 10 vols.
+
+Schmarsow, A., "Donatello," Breslau, 1886.
+
+Semper, H., "Donatellos Leben und Werke," Innsbruck, 1887; "Donatello,
+seine zeit und Schule," Vienna, 1875.
+
+Semrau, M., "Donatello's Kanzeln in San Lorenzo," Breslau, 1891.
+
+Tanfani-Centofanti, "Notizie di Artisti ... Pisani," Pisa, 1898.
+
+Titi, "Ammaestramento Utile," Rome, 1686.
+
+Vasari, "Vite dei Pittori," Florence, Lemonnier, ed. 1846, 14 vols.
+(1st ed. 1550).
+
+Von Tschudi, "Donatello e la critica moderna," Turin, 1887.
+
+
+
+
+INDEX
+
+
+Abraham: statue, 10, 30
+
+Alberti, L.B.: on Art, 22
+
+Ambras: entombment, 177
+
+Ammanati: sculptor, 102
+
+Amorino: bronze, Bargello, 113, 114
+
+Ancona: Baptist for, 59
+
+Andre (Madame) Collection:
+  Prophet, 7;
+  St. John, 57;
+  profile warrior, 98;
+  bronze children, 114;
+  marble boy, 115;
+  Gonzaga bust, 127;
+  St. Sebastian, 177
+
+Andrew, St.: statue (lost), 199
+
+Annunciation: Sta. Croce, 49, 113, 154
+
+Anselm, St.: projected shrine, 199
+
+Antonio, St.: at Padua, bronze, 153
+
+Aquila, Andrea del: sculptor, 191
+
+Aragazzi: _see_ Tombs
+
+Architect: Donatello as, 59, 65
+
+Arduino: engineer, 143
+
+Aretino: letter from, 76
+
+_Assistants_, Donatello's:
+  Moscatello, 64, 168;
+  Giovanni da Pisa, 75, 168, 190, 203;
+  Nani, G., 167;
+  Cocaro, N., 168;
+  Meo of Florence, 168;
+  Pipo of Florence, 168;
+  Antonio of Lugano, 168;
+  Bartolommeo of Ferrara, 168;
+  Jacomo, goldsmith, 168;
+  Squarcione, 150;
+  Giovanni da Becato, 168;
+  Francesco del Mayo, 168;
+  Andrea delle Caldiere, 168;
+  Urbano da Cortona, 168, 169;
+  Francesco Valente, 168, 203;
+  Antonio of Pisa, 168;
+  Bellano, 170, 190;
+  Bertoldo, 189, 191
+
+Assumption: Brancacci tomb, 80
+
+Assyrian low relief, 81
+
+Athos, Mount: conventionalised art, 22
+
+Aurelius, M.: equestrian statue, 173
+
+
+Banco, Nanni di: sculptor, 30, 190
+
+Bandinelli, 46, 102, 186
+
+Baptist, St. John: _see_ St. John
+
+Baptistery gates, 2;
+  competition, 3;
+  Magdalen, 144;
+  Coscia tomb, 72
+
+Bardini Collection:
+  Madonna, 54, 185;
+  fountain, 66;
+  tomb slab, 85;
+  Crucifixion, 178
+
+Bas-relief: its limitations, 137
+
+Bastianini, 182
+
+Battoni, P.: painter, 145
+
+Becchi: shield, 68
+
+Beckerath: Madonna, 182
+
+Bellano, 170, 189, 190
+
+Benda Collection: bust, 118
+
+Benedetto da Maiano, 191
+
+Bentivoglio: medal of, 82
+
+Bergamo: Madonna, 183
+
+Berlin Museum:
+  bust, terra cotta, 120;
+  Gonzaga, bronze, 127;
+  bronze head of old man, 128;
+  St. John, bronze, 147;
+  putto, bronze, from Siena, 114;
+  Flagellation, marble, 178;
+  David, bronze, 52;
+  Madonnas, 180
+
+Bernardino, St.: projected statue, 146, 199
+
+Bertoldo, 189, 191
+
+Blondius, F., 193
+
+Bocchi: passim
+
+Bologna: sculpture at, 9, 85, 143
+
+Boni: shield, 68
+
+Boniface VIII.: statues of, 9
+
+Borso d'Este: projected statue, 199
+
+Botticelli, 99
+
+Bramantino: drawings, 90
+
+Brancacci: _see_ Tombs
+
+Bronzino, 52, 102
+
+Brosses, des: criticisms, 138, 144
+
+Brunellesco:
+  model for gates, 3;
+  co-operation with Donatello, 37, 200
+
+Buggiano, 191
+
+Busts:
+  Benda Collection, 118;
+  Dreyfus Collection, 118;
+  Duke of Westminster's Collection, 118;
+  Hainauer Collection, 119;
+  Faenza St. John, 119;
+  Martelli St. John, 118;
+  San Lorenzo, Florence, 126;
+  St. Cecilia, London, 126;
+  Gonzaga bronze, 127;
+  old man's head, bronze, 128;
+  Gattamelata, 99, 129;
+  Vanchettoni, 118;
+  Vecchio Barbuto, Florence, 130;
+  Roman Emperor, Florence, 130;
+  old woman, bronze, 130;
+  San Rossore, 130, 201;
+  Niccolo da Uzzano, 121
+
+
+Caldiere, Andrea, Donatello's bronze caster, 168
+
+Camondo, Comte de: Crucifixion, 178
+
+Canigiani: Palazzo, sculpture, 191
+
+Canon of Art, 20
+
+Cantoria:
+  San Lorenzo, 64;
+  Cathedral, 103, 107, 199;
+  Luca della Robbia's, 106-8
+
+Capodalista: horse, 175
+
+Castiglione: Sabba del, 119, 193
+
+Cecilia, St. (London), 126;
+  ditto, Lord Wemyss, 172
+
+Cellini, B., 141, 193
+
+Charge to Peter (London), 95
+
+Chartres Cathedral: statuary, 41
+
+Cherichini, supposed portrait of, 20
+
+Childhood, Donatello's representation of, 103
+
+Chimaera: Etruscan, 69
+
+Choristers of bronze, Padua, 163
+
+Cinelli: passim
+
+Ciuffagni: sculptor, 60, 66
+
+Civitali, M., sculptor, 13
+
+Classical influences, 4, 90, 103, 104;
+  architecture, 160
+
+Cocaro, Donatello's assistant, 168
+
+Colle, Simone da: sculptor, 3
+
+Colleone: equestrian statue, 150
+
+Colossi, 34
+
+Coronation window, 60
+
+Coscia: _see_ Tombs
+
+Cozzarelli: sculptor, 192
+
+Criticism on Donatello, early, 193;
+  later, 93
+
+Croce, Santa, sculpture in, 49, 113, 38
+
+Crowds: Donatello's treatment of, 156
+
+Crucifix: Santa Croce, 47, 156
+
+Crucifixion:
+  Bargello bronze, 178;
+  Camondo, bronze, 178;
+  Berlin, 178
+
+Cyriac of Ancona, 194
+
+
+Daniel: statue, 10
+  St., at Padua, bronze, 154
+
+Dante, 45, 90
+
+Davanzati: shield, 68
+
+David:
+  marble statue, 16;
+  Martelli's statue, 52;
+  bronze, 99;
+  Berlin, 52
+
+Dello: his epitaph, 13
+
+Denunzia, 1, 76, 201
+
+Desiderio, 133, 191
+
+Doni, A.: criticism of Ghiberti, 138
+
+Dovizia: statue, 142, 199
+
+Drapery: Donatello's treatment of, 31
+
+Drawings by Donatello, 60
+
+Dreyfus Collection:
+  marble bust, 118;
+  Christ and St. John, relief, 133;
+  St. Jerome, bronze, 170;
+  Madonna bronze, 177;
+  Verrocchio, putto, 105
+
+
+Eagle: the Walpole, 162
+
+Entombment:
+  Vienna, 177
+  Padua: marble, 161
+
+Eremitani altar, 169
+
+Evangelist symbols at Padua, 161
+  Siena, 169
+
+Eve: bas-relief, 142
+
+
+Faenza:
+  bust of St. John, 119;
+  St. Jerome, 148
+
+Faith: statuette at Siena, 71
+
+Fazio, B., 193
+
+Filarete, 91
+
+Flagellation:
+  London, 62;
+  Paris, 177;
+  Berlin, 177
+
+Flaxman's criticism, 93
+
+Florence:
+  Cathedral facade, 6, 8, 9;
+  cupola, 65;
+  cantoria, 107;
+  sacristy carving, 115;
+  window, 60;
+  colossi, 34;
+  gates, 200, 202
+
+Font:
+  Siena, 70, 105, 201;
+  at Pietra Santa, 191
+
+Fontainebleau: Madonna, 184
+
+Fountains, 66, 70
+
+Francis, St.: at Padua, 153
+
+Fulgosio: monument, Padua, 168
+
+
+Gagini: sculptors, 131
+
+Gattamelata:
+  bust, 99, 129;
+  tombs, 171;
+  equestrian statue, 173
+
+Gauricus, 60, 73, 193
+
+Gems: employment of, 97-99, 129
+
+George, St.:
+  statue, 39;
+  relief, 42, 72
+
+Ghiberti:
+  bronze gates, 3, 137;
+  relation with Donatello, 190;
+  classical ideas, 89, 91
+
+Ghiberti, Vettorio: drawings, 63, 74
+
+Ghini: Simone, 88
+
+Giacomone da Faenza: drawings, 155
+
+Gianfigliazzi: shield, 68
+
+Gilbert, Alfred, R.A., 82
+
+Giovanni da Pisa, 75, 168, 190, 203
+
+Giuliano: Donatello's nephew, 2, 202
+
+Goliath: statue (lost), 199
+
+Gonzaga, Louis of: bust, 127
+
+Gori: criticisms, 93
+
+Gothic Art:
+  Donatello's relations with, 5, 42;
+  survivals of, 91
+
+Gozzoli, Benozzo, 9
+
+Grouping: Donatello's ideas of, 30, 138, 142, 161
+
+Guidarelli: monument, 171
+
+
+Habakkuk: statue, 23
+
+Hands: Donatello's treatment of, 31
+
+Henry VII.: tomb of, 136
+
+Heraldic sculpture, 67
+
+Hertford House: reliefs, 110
+
+Hope: statuettes, 71, 75
+
+Horse of Colleone, 174;
+  Gattamelata, 173;
+  Capodalista, 174
+
+Horse's head: Naples, 175
+
+Horses of St. Mark's, Venice, 173;
+  of Monte Cavallo, 189
+
+
+Icarus in Greek Art, 165
+
+Ilaria del Caretto: tomb, 82
+
+Intarsia, 161
+
+Isotta da Rimini, 163
+
+
+Jeremiah: statue, 20
+
+Jerome, St.: Faenza, 148
+
+John XXIII.: _see_ Tombs, Coscia
+
+St. John Bapt.:
+  Campanile statue, 18;
+  Martelli statue, 56;
+  Bargello statue, 57, 58;
+  Dilke Collection, 57;
+  Orvieto, 59, 147;
+  Ancona, 59;
+  Rome, 56, 57;
+  Faenza, 119;
+  Louvre, 120;
+  Berlin, bronze, 146;
+  Berlin, terra-cotta, 120;
+  Siena, 146;
+  Venice, 146;
+  Hainauer Collection, 149
+
+St. John Ev.:
+  statue, 14;
+  reliefs, 134
+
+Judith, 140
+
+Justina, St.: at Padua, 154
+
+
+Kaufmann:
+  Madonna, 182;
+  statuette, 189
+
+
+Lafreri: engraver, 189
+
+Lasca, 193
+
+Lavabo, San Lorenzo, 67
+
+Laurana, F.: sculptor, 131
+
+Leopardi, 175
+
+Ligorio: architect, 90
+
+Lille relief, 5, 72, 113
+
+Lions in Florence, 67-9
+
+London collection:
+  Flagellation, 62;
+  charge to Peter, 95;
+  St. Cecilia, 126;
+  marble relief of woman, 132;
+  Magdalen, 149;
+  lamentation over dead Christ, 165;
+  shrine of St. Justina, 171;
+  Martelli patera, 176;
+  Deposition, bronze, 178;
+  oval Madonna, 184;
+  bronze boy, 115
+
+Lorenzo, San:
+  pulpits, 107, 186;
+  sacristy, 133, 139;
+  bronze doors, 135;
+  lavabo, 191;
+  statues perished, 199
+
+Lorenzetti; early paintings, 145
+
+Louis, St.:
+  bronze Santa Croce, 38;
+  bronze at Padua, 155, 202
+
+Louvre collection:
+  Pot tomb, 79;
+  bronze by Valadier, 97;
+  marble Baptist, 120;
+  drawings, 61;
+  Madonnas, 181-185;
+  painting of St. John, 120;
+  portrait of Donatello, 195;
+  Flagellation, 177
+
+Lucca, Siege of, 65
+
+Luke, St.: statue, 124
+
+Lytton, Earl of, medallion portrait, 82
+
+
+Madonnas:
+  Bardini, 54, 178, 181;
+  Beckerath, 182;
+  Berlin, Pazzi, marble, 181;
+  Orlandini, marble, 181;
+  S.M.M. dei Pazzi, 185;
+  Brancacci, 80;
+  Capella Medici, group, 185;
+  Courajod, 185;
+  Dreyfus Desiderio, 81, 177;
+  delle Treppe, 192;
+  Eremitani, Paris, 184;
+  Fontainebleau, 184;
+  Kaufmann, 182;
+  London-Weisbach, oval, 184;
+  Milan, Pierino da Vinci, 81;
+  Madonna of the Rose, London, 183;
+  Padua, large bronze, 152;
+  small relief, 180;
+  Pietra Piana, 182;
+  Piot, Louvre, 55, 183;
+  Quincy Shaw, 81;
+  Siena Cathedral, 181;
+  Verona, 182;
+  Wemyss, Earl of, 81
+
+Magdalen:
+  Florence baptistery, 144;
+  London, 149;
+  Berlin, 149
+
+Malatesta Annalena: bust, 130
+
+Mandorla door:
+  prophets, 7
+  profile heads, 34
+
+Manetti:
+  biographer, 63, 195;
+  supposed portrait, 11
+
+Mantegna: relation to Donatello, 96, 150, 161, 187
+
+Mark, St.: statue, 37
+
+Martelli, David, 52, 113;
+  patera, 176;
+  shield, 68;
+  St. John, 118
+
+Martin V.: tomb of, 88
+
+Marzocco, 67
+
+Masaccio: paintings by, 161, 164, 195
+
+Mataloni: horse's head, 175
+
+Medallions in Medici palace, 97
+
+Medallists, 59, 82
+
+Medici:
+  fountain, 166;
+  exile, 88, 97;
+  medallions, 97;
+  Lorenzo de', 175
+
+Medici, Capella, 185
+
+Mengs, R.: criticism by, 27, 93
+
+Meo: Donatello's assistant, 168
+
+Michael Angelo:
+  Moses, 15;
+  technique, 53, 101;
+  San Petronio, 71;
+  relation to Donatello's art, 192;
+  Bacchus, 192
+
+Michelozzo, 39, 43, 48;
+  partnership with Donatello, 72, 201;
+  Brancacci tomb, 77;
+  Aragazzi tomb, 76;
+  Prato pulpit, 109;
+  work at Milan, 115;
+  statues of St. John, 149
+
+Mino da Fiesole, 53, 191
+
+Miracle reliefs at Padua, 156
+
+Mocenigo: tomb, 14, 41
+
+Montepulciano, Pasquino da, 75
+
+Montorsoli, 46
+
+Morosini: medallion, 97, 199
+
+Moses: statue, 15
+
+
+Nani: Donatello's assistant, 167
+
+Nanni di Banco, 30, 190
+
+Naples:
+  Brancacci tomb, 77;
+  bronze horse's head, 175
+
+Narni: _see_ Gattamelata
+
+Neroccio: sculptor, 70, 180, 192
+
+Niccolo da Uzzano: bust, 121
+
+Niccolo Niccoli, 194
+
+Nollekens, 62
+
+Nude: studies from, 101
+
+
+Obadiah: statue, 18
+
+d'Olanda, Francesco, 193
+
+Orcagna, 6
+
+Orlandini, Madonna, Berlin, 181
+
+Orsa: Donatello's mother, 2, 202
+
+Or san Michele: niche, 63, 104
+
+Orvieto: Baptist for, 59
+
+
+Padua in 1443, 149;
+  work for altar, 149-176, 202
+
+Pagno di Lapo, 78, 83
+
+Painter: Donatello as, 59
+
+Parthenon, 25, 105, 122
+
+Pasquino da Montepulciano, 75
+
+Patera Martelli, 176
+
+Pazzi, Madonna, Berlin, 181
+
+Pazzi:
+  fountain, 66;
+  shield, 68;
+  frieze, 135
+
+Pellegrini: chapel, 135, 184
+
+Perseus, by Cellini, 141
+
+Perugino: drawing by, 60
+
+Peruzzi: drawings by, 60
+
+Peter, St.: statue, 36
+
+Petrarch, 90
+
+Piero, Niccolo di; sculptor, 124
+
+Pieta at Padua, bronze, 164
+
+Piot: Madonna, 65
+
+Pisa: Donatello at, 59, 78
+
+Pisano Niccolo, 91
+
+Pistoja: silver altar, 191
+
+Plaquettes, 176
+
+Pocetti, B.: drawing of facade of Duomo, 10
+
+Poggio:
+  statue, 12;
+  on Rome, 90
+
+Politics, influence of, 143
+
+Pollaiuolo: his battle-piece, 179
+
+Polychromacy, 121
+
+Portrait of Donatello, 195
+
+Pot tomb, Louvre, 79
+
+Prato pulpit, 109
+
+Procdocimus, St.: at Padua, bronze, 155
+
+Pulpit Prato, 109
+  San Lorenzo, 186
+
+
+Quaratesi: shield, 68
+
+Quercia: Jacopo della, 3, 70, 53;
+  his school, 191;
+  Siena font, 70
+
+
+Realism, 26
+
+Reymond, Marcel: criticism, 108
+
+Reynolds, Sir J.:
+  on drapery, 31;
+  on Gothic art, 45
+
+Riccio, 191
+
+Robbia:
+  Andrea della, 104;
+  Donatello's pall bearer, 194
+
+Robbia:
+  Luca della, 73;
+  cantoria, 106, 108;
+  portraits by, 125;
+  bronze doors, 135, 202;
+  lunettes, 151
+
+Rome:
+  Donatello's first journey to, 4;
+  statue of St. John at, 57;
+  Crivelli tomb, 83;
+  Donatello's second journey to, 88;
+  Rome in 1433, 88;
+  tabernacle in St. Peter's, 94
+
+Rossellino, 66, 91, 119, 191
+
+Rosso: sculptor, 18, 191
+
+Rossore, San: bust, 130, 201
+
+
+Savonarola, 21
+
+Sebastian, St.:
+  bronze, M. Andre, 177
+  wood (now lost), 199
+
+Sense of distance, 23
+  light and shade, 29
+  proportion, 30
+  nature, 27
+
+Sermoneta: Duca di, 9
+
+Shields:
+  heraldic, 67;
+  Martelli, 68
+
+Siena:
+  cathedral font, 70, 201;
+  figures from font, 114, 105;
+  Pecci tomb, 84;
+  marble Madonna, 181;
+  St. John Baptist, 146;
+  statues on facade, 175
+
+Simone: sculptor, 2, 88, 191
+
+Soderini: supposed portrait of, 20
+
+Sogliani, T.: work on Magdalen, 144
+
+Sportello Venice, 177
+  Siena, 71
+
+Squarcione, 150
+
+Stiacciato, 80
+
+Strabo: on marble, 78
+
+Strozzi Filippo, 91
+
+Strozzi Palla, 150
+
+Summonte, 194
+
+Sword hilt at Turin, 176
+
+Symbols of Evangelists: Padua, 161
+
+
+Tabernacle in Rome, 94
+
+Technique: Donatello's, 53
+
+Tita: Donatello's sister, 2, 202
+
+Tombs:
+  Coscia, drawings for, 61;
+  history of, 72;
+  Brancacci, 73, 77;
+  Assumption, 80;
+  Martin V., 88;
+  Aragazzi, 73, 76;
+  Medici Giovanni de', 72;
+  Caretto, 82;
+  Sixtus IV., 82;
+  Albizzi, 83;
+  Chellini, 83;
+  Accaiuoli, 83;
+  Crivelli, 83;
+  Pecci, 84;
+  Scaligers, 86;
+  Rococo style, 87;
+  Saltarello, 109;
+  Fulgosio, 168;
+  Gattamelata, 171;
+  Roycelli, 170
+
+Torrigiano, 80, 136
+
+Turin sword hilt, 176
+
+Turini, 70, 192
+
+
+Ucello, Paolo: painter, 69, 195
+
+Uffizzi gallery: drawings, 60
+
+Urbano da Cortona, 191
+
+Uzzano, Niccolo da: bust, 121
+
+
+Valadier: sculptor, 97
+
+Valente: Donatello's assistant, 168, 203
+
+Vandalism, 8
+  in Rome, 88
+
+Vasari: passim
+
+Vecchietta: sculptor, 191
+
+Venice: horses of St. Mark's, 173
+  statue of St. John, 146
+  Sportello, 177
+
+Verdiana, St.: reliquary, 200
+
+Verona:
+  Madonna, 182;
+  sculpture on cathedral, 124;
+  sculpture on San Zeno, 124
+
+Verrocchio, 73, 99, 101, 105, 174
+
+Vienna: entombment, 177
+
+Vinci: Leonardo da, 22, 29, 66
+
+Visconti, Marquise A.: Collection, 132, 185
+
+
+Wallace Collection: reliefs, 110
+
+Warfare: Donatello and, 65
+
+Weisbach: Madonna, 184
+
+Wemyss, Earl of, collection:
+  Madonna, 81;
+  St. Cecilia, 172;
+  Walpole eagle, 162
+
+Wood: employment in sculpture, 148
+
+
+Zeno, San: Verona, 124
+
+Zuccone: statue, 26, 96
+
+
+Printed by BALLANTYNE, HANSON & CO.
+London & Edinburgh
+
+
+
+       *       *       *       *       *
+
+
+
+Uniform with this Volume
+
+MICHAEL ANGELO BUONARROTI
+
+BY
+
+CHARLES HOLROYD
+
+CURATOR OF THE NATIONAL GALLERY OF BRITISH ART
+
+With Fifty-two Illustrations
+
+
+"Mr. Holroyd has done excellent service. This story of a marvellous
+career is full of human charm.... Valuable book."--_Standard._
+
+"A serviceable and competent biography which many will be glad to
+see.... Numerous and excellent illustrations."--_Literary World._
+
+"A book that both the student and the general reader will find full of
+interest. Extremely interesting and vividly recorded."--_Westminster
+Gazette._
+
+"Mr. Holroyd's comprehensive study will be found useful and
+interesting. The illustrations are numerous and good."--_Manchester
+Guardian._
+
+"A really admirable picture of one who is perhaps the greatest
+personality in the history of Art; and a sympathetic, yet critical
+account of his works. Mr. Holroyd writes with knowledge and
+enthusiasm.... Numerous and well-executed illustrations."--_Yorkshire
+Post._
+
+"This excellent work ... is as suited to the general reader as to the
+artist. We do not find those deserts of literary speculation so common
+to the lives of artists."--_Spectator._
+
+"The volume gives in a convenient form almost everything that the
+student for whom it is intended will need to know about Michael
+Angelo, and will prove a safe guide to his works. The illustrations
+are well chosen.... We are especially grateful for the engravings of
+those frescoes in the Pauline Chapel which every one writes about and
+no one publishes."--_New York Evening Post._
+
+       *       *       *       *       *
+
+THE PUBLISHERS HAVE ARRANGED TO ISSUE A
+
+LIBRARY OF ART
+
+IN STYLE SIMILAR TO THIS VOLUME
+
+
+_ALL SCHOOLS AND PERIODS will be represented, but only the Greatest
+Masters will emerge as Biographies. The rest will be treated in
+relation to their fellows and forerunners as incidents of a
+development._
+
+_The Series will, it is hoped, reflect the subject in its true
+proportions more closely than has been attempted hitherto. At the same
+time, the scope of the Series will admit of occasional monographs on
+little-known artists, when some specialist has been able to throw
+light by new researches on an obscure period. The aesthetic side will
+not be neglected, but the aim will be to make the Series a store-house
+of that positive knowledge which must form the basis of all opinion._
+
+       *       *       *       *       *
+
+_The following is a List of the Volumes now arranged for_
+
+
+THE CRITICISM OF ART
+
+By A.J. FINBERG
+
+
+SIX GREEK SCULPTORS
+
+MYRON, PHEIDIAS
+POLYKLEITOS, SKOPAS, PRAXITELES, AND LYSIPPOS
+
+By ERNEST GARDNER
+
+Professor of Greek Archaeology at University College, London
+
+
+ROMAN ART, FROM AUGUSTUS TO CONSTANTINE
+
+By Mrs. ARTHUR STRONG (EUGENIE SELLERS), LL.D.
+
+
+MEDIAEVAL ART, TO GIOTTO
+
+By W.R. LETHABY
+
+
+DUCCIO, AND THE BEGINNINGS OF ITALIAN PAINTING
+
+By PROFESSOR LANGTON DOUGLAS
+
+
+GIOTTO
+
+By B. DE SELINCOURT
+
+
+GHIRLANDAJO AND THE EARLIER FLORENTINES
+
+By BECKWITH SPENCER
+
+Assistant Professor at the South Kensington School of Art
+
+
+DONATELLO
+
+By LORD BALCARRES                                    [_Ready._
+
+
+PISANELLO
+
+By G.F. HILL
+
+Of the Department of Coins and Medals in the British Museum
+
+
+THE THREE BELLINI AND THE EARLIER VENETIANS
+
+By G. McNEIL RUSHFORTH
+
+Late Director of the British School at Rome
+
+
+MICHAEL ANGELO BUONARROTI
+
+By CHARLES HOLROYD                                [_Ready._
+
+
+RAPHAEL AND HIS SCHOOL IN ROME
+
+By C. RICKETTS
+
+
+TITIAN
+
+By DR. GEORG GRONAU
+
+
+DUeRER
+
+By T. STURGE MOORE
+
+
+CORREGGIO
+
+By T. STURGE MOORE
+
+
+FRENCH PAINTING IN THE SIXTEENTH CENTURY
+
+By L. DIMIER                                     [_Immediately._
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK DONATELLO***
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