Lives of the Most Excellent Painters, Sculptors, and Architects/Donato

by Giorgio Vasari

 

THE FLORENTINE SCULPTOR DONATO.

[born 1386—died 1468.]

The sculptor Donato,^[1] called by his contemporaries Donatello, and who subscribes himself thus on some of his works, was born in Florence in the year 1386.^[2] He devoted himself to the arts of design^[3] and was not only an excellent sculptor and admirabie statuary, but was beside very skilful in works of stucco, well versed in the study of perspective, and highly esteemed as an architect. The productions of Donatello displayed so much grace and excellence, with such correctness of design, that they were considered to resemble the admirable works of the ancient Greeks and Romans more closely than those of any other master had ever done. Nor is it without good reason that he is acknowledged to be the first who conducted the practice of historical composition, in basso-rilievo, into the right path; his works of that kind giving proof of so much thought, power, and facility, that he is at once perceived to have had the true intelligence and mastery of that branch of art, which he exercised with extraordinary success, insomuch that he has not only remained unsurpassed in that style, but has never been equalled by any artist, even down to our own days.^[4]

Donatello was brought up from early childhood in the house of Ruberto Martelli, and by his many good qualities, as well as by his diligence in the study of art, he secured the affection, not only of Martelli himself, but of his whole family. This master produced many works in his youth, but because they were many, they were not considered to be of any great account. The work which obtained him a name, and caused him to be known for what he really was, was an Annunciation,^[5] executed in the stone called macigno, which was placed near the altar and chapel of the Cavalcanti family, in the church of Santa Croce, in Florence. Around this he executed an ornament in the grotesque manner, with a basement variously decorated and finished above in round arches. He added six boys who are bearing garlands; they appear to be holding each other closely as if in fear of the height, and to be thus seeking to secure themselves. But it is in the figure of the Virgin that he has principally displayed his art. Alarmed by the unexpected appearance of the angel, her movements betray timidity, yet, with great sweetness and most becoming reverence, she turns herself with an exquisite grace towards him who is saluting her, insomuch that one perceives in her countenance the humility and gratitude due to one who presents an unexpected gift, and which are all the more deeply felt, the more important is the benefit received. In the draperies of this madonna moreover, and in those of the angel, Donato exhibited much ability; they float off from the figures in graceful folds, the nude forms are displayed through them with masterly skill, and prove his determination to discover and restore that beauty of ancient art which had lain concealed for so many years: he gave evidence, in short, of so much power and art in this work, that design, judgment, and practised facility in the use of the chisel, could produce nothing finer, nor could better be desired.^[6] For the same church, beneath the roodloft, and beside the historical work of Taddeo Gaddi, Donato executed a Crucifix in wood, on which he bestowed extraordinary labour. When the work was completed, believing himself to have produced an. admirable thing, he showed it to Filippo di Ser Brunellesco, his most intimate friend, desiring to have his opinion of it. Filippo, who had expected, from the words of Donato, to see a much finer production, smiled somewhat as he regarded it, and Donato seeing this, entreated him by the friendship existing between them, to say what he thought of it. Whereupon Filippo, who was exceedingly frank, replied, that Donato appeared to him to have placed a Clown on the cross, and not a figure resembling that of Jesus Christ, whose person was delicately beautiful, and in all its parts the most perfect form of man that had ever been born. Donato hearing himself censured where he had expected praise, and more hurt than he was perhaps willing to admit, replied, “If it Were as easy to execute a work as to judge it, my figure would appear to thee to be Christ and not a boor; but take wood, and try to make one thyself.”^[7] Filippo, without saying anything more, returned home, and set to work on a Crucifix, wherein he laboured to surpass Donato, that he might not be condemned by his own judgment; but he suffered no one to know what he was doing. At the end of some months, the work was completed to the height of perfection, and this done, Filippo one morning invited Donato to dine with him, and the latter accepted the invitation. Thereupon, as they were proceeding together towards the house of Filippo, they passed by the Mercato Vecchio, where the latter purchased various articles,^[8] and giving them to Donato, said, “Do thou go forward with these things to the house and wait for me there, I'll be after thee in a moment.” Donato, therefore, having entered the house, had no sooner done so, than he saw the Crucifix, which Filippo had placed in a suitable light. Stopping short to examine the work, he found it so perfectly executed, that feeling himself conquered, full of astonishment, and, as it were startled out of himself, he dropped the hands which were holding up his apron, wherein he had placed the purchases, when the whole fell to the ground, eggs, cheese, and other things, all broken to pieces and mingled together. But Donato, not recovering from his astonishment, remained still gazing in amazement and like one out of his wits when Filippo arrived, and inquired, laughing, “What hast thou been about, Donato? and what dost thou mean us to have for dinner, since thou hast overturned everything? ” “I, for my part,” replied Donato, “have had my share of dinner for to-day; if thou must needs have thine, take it. But enough said: to thee it has been given to represent the Christ; to me, boors only.”^[9]

In the church of San Giovanni in the same city, Donato executed the sepulchral monument of the pope, Giovanni Coscia, who had been deposed from the pontificate by the Council of Constance. The monument to Coscia was erected at the cost of Cosimo de’ Medici,^[10] who was the intimate friend of the deposed pontiff. For this tomb, Donato executed the figure of the departed pope in gilded bronze, with those of Hope and Charity, in marble, all with his own hand; but the figure of Faith^[11] was done by his pupil Michelozzo. In the same church, and opposite to the work just described, is a figure of Santa Maria Maddalena, executed in wood, which is extremely beautiful and admirably finished: the penitent is seen consumed and exhausted by her rigid fastings and abstinence, insomuch that every part exhibits the perfection of an anatomical study, most accurately represented in all its parts.^[12] In the Mercato Vecchio, on a column of granite, standing entirely apart, there is a figure of Plenty, by Donato, in the stone called macigno forte, which is so well done, that it has always been field in the highest estimation by artists and all men of judgment in matters of art.^[13] The column on which this figure stands was formerly in San Giovanni, where the remaining columns of granite which sustain the inner cornice are still in their places; the one in question was taken away and a fluted column was placed in its stead, on which there once stood a statue of Mars, erected in the centre of the temple; but this last was removed, when the Florentines were converted to the faith of Jesus Christ.^[14] The same master, while still very young, executed a figure of the prophet Daniel, in marble,^[15] for the façade of Santa Maria del Fiore; and at a later period he produced one of San Giovanni Evangelista seated; this figure is four braccia high, it is clothed in very simple vestments, and is much celebrated.^[16] In the same place, at an angle of the building, on that side which faces the Via del Cocomero, is the figure of an old man, between two columns, which is executed more in the manner of the ancients, than is to be remarked in any other work by Donato; the head of this statue bearing the impress of the thoughts and cares which length of years bring to those who are exhausted by time and labour. Donato likewise executed for the same church the decorations of the organ, which stands over the door of the old sacristy, where are those figures, so boldly sketched as we have before said, that in looking at them one almost believes them really to live and move.^[17] It may indeed be truly said of this master, that he effected as much by the superiority of his judgment as by the skill of his hand; seeing that many works are produced which appear very beautiful in the work-rooms where they are executed, but which, when taken thence and placed in another situation, in a different light or higher position, present a much changed aspect, and turn out to be the reverse of what they appeared. Donato, on the contrary, treated his figures in such a manner, that while in the rooms where they were executed they did not produce one-half the effect, which he had in fact secured to them, and which they exhibited when placed in the positions for which they had been calculated. For the new sacristy of Santa Maria del Fiore, Donatello gave the design of those boys who support the festoons, which decorate the frieze;^[18] as also that of the figures executed in the circular window beneath the cupola. The subject is the Coronation of Our Lady, and the design of the work is greatly superior to that of the paintings in the other windows, as is clearly obvious.^[19] Donato also produced the statue of St. Peter, still to be seen in San Michele, in Orto, in the same city, (Florence); an admirable figure, full of spirit,^[20] which he executed for the Guild of Butchers;^[21] with the figure of San Marco,^[22] undertaken in the first instance in concert with Filippo Brunelleschi,^[23] for the Guild of Joiners, but which Donatello afterwards finished by himself, an arrangement to which Filippo had consented. This figure was executed by Donato with so much judgment, that while standing on the ground its excellence was not obvious to those who were but imperfectly acquainted with matters of art, insomuch that the syndics of the Guild were not disposed to have it placed in the situation intended for it; whereupon Donato bade them suffer him to raise it to its due position, when he would so work at it that they should see a different figure from that they then beheld. Having placed the statue accordingly, he shut it up for a fortnight, and then, without having touched it, uncovered his work to the admiration of all.

For the Guild of Armourers, Donatello executed a most animated figure of St. George, in his armour. The brightness of youthful beauty, generosity, and bravery shine forth in his face; his attitude gives evidence of a proud and terrible impetuosity; the character of the saint is indeed expressed most wonderfully, and life seems to move within that stone. It is certain that in no modern figure has there yet been seen so much animation, nor so life-like a spirit in marble, as nature and art have combined to produce by the hand of Donato in this statue.^[24] On the pedestal which supports the tabernacle enclosing the figure, the story of St. George killing the dragon is executed in basso-rilievo, and also in marble: in this work there is a horse, which has been highly celebrated and much admired: in the pediment is a half-length figure of God the Father, also in basso-rilievo.^[25] This master likewise executed the tabernacle for the Mercatanzia, which is opposite to the church of that oratory; it is in marble, of the antique order called Corinthian, and differs entirely from the Gothic manner. This tabernacle was intended for the reception of two statues, but these Donato would not complete, because he could not come to an agreement with the syndics in respect to the price. They were consequently executed in bronze, after his death, by Andrea del Verrochio, as will be related hereafter. In that façade of Santa Maria del Fiore, which faces the Campanile, Donato executed four figures, each five braccia high,^[26] two of which are portraits from the life, one of Francesco Soderini when a youth, the other of Giovanni di Barduccio Cherichini, now called the Zuccone.^[27] The latter is considered the most extraordinary and most beautiful work ever produced by Donatello, who, when he intended to affirm a thing in a manner that should preclude all doubt, would say, “By the faith that I place in my Zuccone.” And while he was working on this statue he would frequently exclaim, while looking at it, “Speak then! why wilt thou not speak?” Over the door of the Campanile, on the side facing the Canonicate, is the figure of Abraham about to sacrifice Isaac, by this master, with another prophet. These figures were formerly placed between two other statues. For the Signoria of Florence, Donatello cast, in bronze, a statue of Judith cutting off the head of Holofernes.^[28] This was placed on the piazza, in an arch of their loggia. It is a work of great excellence, and proves the mastery of the author over his art. There is much grandeur and simplicity in the aspect and vestments of Judith; her greatness of mind, and the power she derives from the aid of God, are made clearly manifest, while the effects of wine and sleep are equally visible in the countenance of Holofernes,^[29] as is the result of death in his limbs, which have lost all power, and hang down cold and flaccid. This work was so carefully executed by Donato, that the casting turned out most successfully, and was delicately beautiful: he then finished it so diligently, that it is indeed most wonderful to behold. The basement, also, which is a balustrade, in granite, of simple arrangement, is very graceful in its effect, and the appearance is extremely pleasing to the eye. Donatello himself was so well satisfied with the whole of this work, that he determined. to place his name on it (which he had not donef on the others), as is seen in the words Donatelli Opus.^[30] In the court of the before-mentioned Palazzo de’ Signoria is a David, in bronze, by this master, naked, and of the size of life. He has cut off the head of Goliah, and, raising his foot, he places it on the head; in his right hand is the sword. The animation, truth to nature, and softness manifest in this figure, make it almost impossible to artists to believe that it has not been moulded on the living form. This statue formerly stood in the court of the Medici Palace, but, on the exile of Cosimo,^[31] it was transported to the position above named (the Signoria). In our day, the Duke Cosimo having made a fountain on the spot which this figure occupied, has caused it to be removed to another court (the place, that is, where the lions^[32] formerly stood), where it makes a very fine ornament to that façade of the palace. There is another beautiful David, in marble, also by Donatello, to the left of the hall where the clock of Lorenzo della Volpaia is placed: the head of the dead Goliah lies beneath his feet, and he holds the sling wherewith he has slain the Philistine, in his hand.^[33] In the first court of the Palazzo de’ Medici are eight medallions of marble, whereon are copies from antique cameos, and casts from the reverses of medals, by Donatello, with some, also, of his own invention, which are very beautiful. They are fixed in the frieze, between the windows and the architrave, above the arch of the loggia.^[34] There is here, moreover, the antique white marble figure of Marsyas, restored by Donatello, and placed at the entrance to the garden,^[35] as also a large number of antique heads, restored and enriched by this master, with an ornament composed of wings and diamonds (the emblem of Cosimo), extremely well executed in stucco. ^[36] A very fine granite vase, whence issued a jet of water, with one of a similar kind in the garden of the Pazzi, in Florence, and which also has a jet of water, are among the works of Donatello.^[37] In the same palace of the Medici are likewise figures of the Madonna in basso-rilievo, of marble and bronze, with other most beautiful works in marble, executed by Donatello, in low relief, of extraordinary merit.^[38] Such was indeed the estimation in which the talents of Donatello were held by Cosimo, that he kept him continually at work; and so great was the affection which Donatello, on his part, bore to Cosimo, that, at the slightest intimation, he comprehended all that was desired, and obediently fulfilled every wish. It is said that a Genoese merchant had caused Donato to make a bronze bust, of the size of life: it was a very beautiful work; and having to be carried to a great distance, was executed in a light and delicate manner. This commission had been procured for Donatello by the intervention of Cosimo; but when the bust was finished, and the merchant came to pay for it, the master appeared to him to demand too much for his work: thereupon the merchant was referred to Cosimo, who, having caused the bust to be taken to the upper court of the palace, had it placed between the battlements which overlook the road, to the end that it might be seen the better. When Cosimo therefore sought to arrange the difference, he found the offer of the merchant to be very far from the demand of Donatello; and, turning towards him, observed that he offered too little: but the merchant, thinking it too much, replied that Donato could have made it in a month, or something better, and would thus be gaining more than half a florin per day. Donato then turned about in great anger, this remark having offended him highly; and, telling the merchant that he had found means in the hundredth part of an hour to spoil the whole labour and cares of a year, he gave a blow to the bust, which fell to the street below, and was dashed in pieces, at the same time observing to the merchant that it was easy to see he was better versed in bargaining for horse-beans than in purchasing statues. Regretting what had happened, the merchant would then have paid him double the sum demanded, on condition of his reconstructing the bust; but this Donato could not be persuaded to do, by all his promises; nor would he consent even at the request of Cosimo. In the houses of the Martelli,^[39] are several statues, in marble and bronze, by this master; among others, a David,^[40] three braccia high, with many other works executed by him, and freely presented to that family, in proof of the love and devotion which he bore them. Among these works is more particularly to be specified a San Giovanni, of marble, in full relief, and three braccia high; a most rare thing;^[41] now possessed by the heirs of Ruberto Martelli, and respecting which a Fideicommisso was executed, to the effect that it should neither be pledged, sold, nor given away, under heavy penalties, in testimony of the affection borne by the Martelli family to Donato, and of his gratitude to them for the opportunity which their protection had afforded him for the acquirement of his art.^[42]

Donato also constructed a sepulchral monument for an archbishop, which was sent to Naples, and is erected in Sant’ Angelo di Seggio di Nido.^[43] In this work are three figures in full relief, which support the sarcophagus on their heads, and on the tomb itself is a story, in basso-rilievo, which merits the highest praise. In the palace of the Count of Matalone, in the same city, is the head of a horse, from the hands of Donato, which is so beautiful that many believe it to be antique.^[44] In the Castello di Prato he constructed the marble pulpit, from which the girdle (of the Virgin) is shown. In one compartment of this pulpit is a dance of children, so admirably and beautifully executed, that the master may be truly said to have exhibited the perfection of his art no less in this work than in others.^[45] Donatello likewise cast two capitals, in bronze, as supports for the above-described work* one of which is still there, but the other was carried away by the Spaniards, when they gave that region over to pillage.^[46]

Now it chanced that at this time the Signoria of Venice, having heard of his fame, sent for Donato, to the end that he might erect the monument of Gattamelata,^[47] in the city of Padua, whither he repaired very willingly, and where he erected the bronze horse, still on the Piazza di Sant’ Antonio, in which the chafing and neighing of the horse are made clearly obvious, while the pride and spirit of the rider are also expressed with infinite force and truth by the art of the master.^[48] Notwithstanding the great size of this casting, Donatello preserved an admirable justice in all the proportions; and the excellence of the work is such that it may be compared with those of any ancient master for design, animation, art, harmony, and care in execution; insomuch that it not only astonished all who then beheld it, but continues to amaze those who examine it in the present day. The Paduans, moved by the merit of this work, did their utmost to obtain the artist for their fellow-citizen, and sought, by all sorts of caresses, to prevail on him to stay with them. In the hope of retaining him, they gave him the commission to execute stories from the life of Sant’ Antonio of Padua on the predella of the high altar, in the church of the Friars Minors. These stories are in basso-rilievo, and are executed with so much ability, that the most excellent masters in this art stand amazed and confounded before them, when they consider the beautiful and varied compositions they display, with the vast amount of extraordinary figures they contain, and the careful consideration of the perspective manifest in all their parts.^[49] The Maries weeping over the Dead Christ, on the front of the altar, are likewise an extremelv fine work of this master. In the palace of one of the Counts Capodilista, Donato constructed the skeleton of a horse, in wood; the neck is wanting, but the remainder may still be seen. The order observed in the junction of the different parts is so remarkable, that whoever considers the manner of this work will be enabled to judge of the varied resources and boldness of the artist.^[50] For a convent of nuns, in Padua, Donatello executed a San Sebastiano, in wood, in compliance with the entreaties of a chaplain, their friend, who was a Florentine, and one of his own intimates. This chaplain brought Donato a figure of the saint, old and very ugly, belonging to the nuns, begging that he would make the new statue like that. The master, desiring to oblige the chaplain and the nuns, took pains to imitate their model; but, rude and ugly as the figure he had to copy was, Donato could not do otherwise than manifest the excellence of his art in his accustomed manner. At the same time he executed many other works, in stucco and clay; and, from a piece of old marble which the nuns abovementioned had in their garden, he produced a very beautiful figure of the Virgin. A vast number of works by this master exist in all parts of that city.^[51] They caused him to be considered a wonder among the Paduans, and won him the commendations of all good judges. But this determined Donato to return to Florence; he declared that if he remained any longer in Padua, he should forget all that he had acquired, from being so much praised by every one; wherefore he affirmed that he should return gladly to his native city, though he were to be continually censured there, since such censure would give him motives for study, and consequently conduce to his attainment of greater glory. Having therefore departed from Padua, he passed through Venice on his return to Florence, and, as a mark of his consideration for the Florentines residing there, he left them the gift of a San Giovanni Batista, for their chapel in the church of the Friars Minors,^[52] carved by himself, in wood, with infinite study and care. In the city of Faenza, also, Donatello executed a San Giovanni and a San Girolamo, which are no less esteemed than are the other works of this master.^[53]

On his return into Tuscany, Donatello constructed a marble tomb in the chapter-house of Montepulciano, adorned with an historical representation of great beauty.^[54] In the sacristy of San Lorenzo, in Florence, he executed a marble lavatory, on which Andrea del Verrocchio also worked,^[55] with many busts and figures in the palace of Lorenzo della Stufa, which are full of spirit and animation. Then, leaving Florence, he repaired to Rome, where he laboured to the utmost of his power to imitate the works of the antiques; and, while studying them, he produced, at the same time, a tabernacle of the Sacrament, in stone, which is now in San Pietro.^[56] When returning to Florence, and passing through Siena, Donatello undertook to execute a bronze door for the baptistery of San Giovanni, in that city; and having made the model in wood, he had nearly finished the wax moulds, and successfully made the various preparations for casting, when there arrived in Siena a Florentine goldsmith, Bernardetto di Mona Papera, an intimate friend of Donatello, who, returning homeward from Rome, so talked and contrived that, whether for his own affairs, or for some other cause, he succeeded in taking Donato with him to Florence. The work thus remained unfinished, or rather, it was never begun; and there is preserved in that city, by the hand of Donatello, a San Giovanni Battista only; this is in bronze, it is in the apartments belonging to the superintendents of the Duomo, and wants the right arm, from the elbow downwards. Donato himself is said to have left it in this state, because he had not received the full amount of the payment due for it.^[57]

Having thus returned to Florence, Donato undertook to decorate the sacristy of San Lorenzo, in stucco, for Cosimo de’ Medici. In the angles of the ceiling that is to say, he executed four medallions, the ornaments of which were partly painted in perspective, partly stories from the Evangelists in basso-rilievo. In the same place Donato made two doors of bronze in basso-rilievo of most exquisite workmanship: on these doors he represented the apostles, martyrs, and confessors, and above these figures are two shallow niches, in one of which are San Lorenzo and San Stefano, in the other San Cosimo and San Damiano.^[58] In the transept of the church also, Donatello executed four figures of saints in stucco,^[59] each five braccia high, which are very well finished. The bronze pulpits were likewise constructed under his direction; and the passion of Christ^[60] represented thereon, is a work in which drawing, force, and invention, are alike remarkable, with a rich variety in the figures and building. This work Donato was prevented by age from completing himself, and it was finished by his disciple Bertoldo^[61]§ who brought it to the utmost perfection. In Santa Maria del Fiore are two colossal figures of brick and stucco, by Donatello, they stand without the church, and serve as ornaments to the angles of the chapels.^[62] Over the door of Santa Croce is still to be seen a statue of San Lodovico, in bronze, five braccia high, from the hand of Donatello, who being reproached for having made the figure stupid and clumsy,—(it is perhaps the worst, or in any case the least meritorious of his works)—replied, that he had done so of set purpose, since the saint certainly must have been a stupid fellow to leave his sovereignty and make himself a monk.^[63] For Cosimo de’ Medici, the same master executed the bust of his wife^[64] in bronze, and this is still preserved in the treasury of our lord the Duke Cosimo, ^[65] where are many other works in bronze and marble from the hand of Donato; among others a Virgin in marble, with the Child in her arms, in very low relief, than which it is not possible to see anything more beautiful, and the rather as it is surrounded by historical representations in miniature by Fra Bartolommeo,^[66] which are admirable, as will be further shown in its due place. Our lord the duke has also a most beautiful, or rather wonderful, crucifix in bronze, from the hand of Donato, in his study, where there are innumerable antiquities of rare value, with very fine medals.^[67] In the before-mentioned treasury (guardaroba), moreover, there is a basso-rilievo in bronze, representing the Crucifixion of our Lord, which contains a great number of figures, with another crucifixion also in bronze. In the house now belonging to the heirs of Jacopo Capponi, who was an excellent citizen and true gentlemen, is a figure in marble of the Virgin, in half relief, which is esteemed to be a most extraordinary work.^[68] Messer Antonio de’ Nobili also, who was administrator of his excellency the duke, had a work in marble by the hand of Donato in his house, and in this is a half-length figure of Our Lady, which is so beautiful, that Messer Antonio prized it as much as all his wealth: nor is it less valued by Giulio his son, a young man of singular excellence and judgment, the friend of artists and of all distinguished men. In the house of Giovan Battista d’Agnol Doni, a Florentine gentleman, there is moreover a Mercury in metal by Donato, the height one braccio and a half; it is in full relief, and is clothed in a somewhat fanciful manner; the execution of this work is truly beautiful, and it is no less remarkable than the other rarities which adorn his most beautiful house.^[69] Bartolommeo Gondi, of whom we have already spoken in the life of Giotto, possesses a figure of Our Lady in mezzo-rilievo by the hand of Donato, which is finished with so much love and diligence, that it is scarcely possible to imagine anything better; nor will it be readily conceived with what grace and lightness the master has treated the ornaments of the head, or the elegance which he has imparted to the vestments of this figure.^[70] Messer Lelio Torelli also,^[71] first auditor and secretary to the lord duke, a no less judicious lover of all the sciences, talents, and honourable vocations, than excellent as a lawyer, has a marble figure of the Virgin in his possession which is likewise by Donatello. But fully to narrate the life and enumerate the works executed by this master, would necessitate a longer story than we have proposed to ourselves in writing the lives of our artists, seeing that he occupied himself with so many things; giving his attention not only to works of importance,^[72] of which we have spoken sufficiently, but also to the smallest matters connected with art. He frequently executed the arms of families, for example, placing them over the chimney-pieces, or on the fronts of the houses of the citizens, as may still be seen in the house of the Sommai, which is opposite to that of the baker, della Vacca, where there is a most beautiful specimen of this kind: he made a chest or sarcophagus also, for the family of the Martelli, in the form of a cradle of wicker-work; this was intended for a tomb, and is deposited beneath the church of San Lorenzo, no tombs of any kind being allowed to appear above, or in the church itself—the epitaph of that of Cosimo de’ Medici is alone excepted, and the entrance even of this is placed below, like that of the others.^[73] It is said, that Simone,^[74] the brother of Donato, having prepared the model for the sepul- chral monument of Pope Martin V, sent for Donato, to the end that he might see it before it should be cast, whereupon that master, proceeding to Rome accordingly, chanced to be there exactly at the time when the Emperor Sigismond was in the city, for the purpose of receiving the crown from Pope Eugenius IV;^[75] wherefore he found himself compelled to give his attention to the sumptuous preparations made for that festival,^[76] which he did in company with his brother Simone, acquiring therefrom much renown and very great honour.

In the guardaroba of the Signor Guidobaldo, duke of Urbino, is a most beautiful head of marble, from the hand of Donatello, and it is believed that this work was presented to the ancestors of the signor Duke, by the magnificent Giuliano de’ Medici, during the time of his stay at the court of Urbino, where were assembled a large number of distinguished men. In effect, Donato was a master of such merit, and so admirable in all he did, that we may safely declare him to have been the first, who, by his knowledge, judgment, and practice, rendered the art of sculpture and of good design illustrious among the people of modern times. And he is all the more worthy of commendation, because in his day the antiquities now brought to light—the columns, triumphal arches, and vases—had not been discovered, and excavated from the earth. Donato was, moreover, the principal cause of the determination taken by Cosimo de’ Medici to bring the antiquities now in the Palazzo Medici^[77] to Florence: and all of which he restored with his own hand. He was most liberal, friendly, and courteous to all, being ever more careful for his friends than for himself; he attached little value to his gains, but kept what money he had in a basket, suspended by a cord to the roof, and from this all his assistants, as well as his friends took what they needed, without being expected to say anything to him. He passed his old age cheerfully, and when he became too decrepit to work longer, he was taken care of by Cosimo, and others of his friends. It is said, that when Cosimo found himself at the point of death, he left Donato in charge to Piero his son, who being a most careful executor of his father’s will, bestowed on him a farm in Cafaggiuolo, the income from which was of such amount, that Donato might have lived on it most commodiously. He made great rejoicings over this gift accordingly, considering himself to be more than secured from the fear of dying of hunger by such a provision; but he had not held the property a year, when he returned to Piero, restoring the farm to him by the proper legal forms, declaring that he would not have his quiet destroyed, by thinking of household cares, and listening to the troubles and outcries of the farmers, who came pestering him every third day, now because the wind had unroofed the dove-cote, then because his cattle had been seized for taxes, and anon because of the storms which had cut up his vines and fruit-trees: with all which he was so completely worn out and wearied, that he would rather perish with hunger, than be tormented by so many cares. Piero laughed at the simplicity of Donato, and to liberate him from this grievance, he resumed possession of the farm, (for this Donato absolutely would have done), but assigned him an income of equal or larger value, secured on the bank, and to be paid in cash; of this he received the due proportion every week, while he lived, an arrangement which rejoiced him greatly.^[78] Thus, as the friend and servant of the house of Medici, Donato lived in cheerfulness and free from cares all the rest of his days: when he had attained his eiglity-third year, he became paralytic, and could no longer labour in any manner, whereupon he took to his bed, where he lay constantly, in a poor little house^[79] which he had in the Via del Cocomero, close to the nuns of San Niceolo, and here, becoming worse from day to day, and declining by degrees, he died on the 13th of December, 1466.^[80] He was buried in the church of San Lorenzo, near the tomb of Cosimo, as he had himself commanded, to the end that his body might be near him when dead, as his spirit had been ever near him when in life.^[81]

The death of Donato was much regretted by his fellowcitizens, by the artists, and by all who had known him in his life, and to the end that they might do him more reverence after death, than he had received while alive, they performed his obsequies most honourably in the above-named church, and he was accompanied to his grave by all the painters, architects, sculptors, goldsmiths, and in fine, by nearly all the inhabitants of the city. Nor was it until a long time after that they ceased to compose verses to his honour in different languages, and of various kinds; of these it must suffice for us to give the few that may be read below.

But before I come to the epitaphs, I think it would not be amiss to relate one more anecdote of Donatello, which is as follows: When he had already become sick, and a short time only before he died, there went to see him certain persons of his kinsfolk, and after they had saluted him, as is customary, and condoled with him on his illness, they told him that it was his duty to leave a farm which he had in the territories of Prato to them, and this they begged him very earnestly to do, although it was small and produced but a very little income. Hearing this, Donato, who showed good sense and rectitude in all that he did, replied thus, “I cannot content you in this matter, kinsmen, because I resolve—and it appears to me reasonable—to leave the farm to the countryman who has always tilled it, and who has bestowed great labour on it; not to you, who, without ever having done anything useful for it, or any other thing but thought of obtaining it, now come, with this visit of yours, desiring that I should leave it to you: Go! and the Lord be with you.” And of a truth such relations, who have no affection but to their own interests, and no motive of action but the hope of gain, should always be treated in that manner. Donato, therefore, having caused a notary to be summoned, left the said farm to the labourer who had always tilled it, and who had perhaps behaved better towards him in his need than those relations had done. His possessions connected with art were left to his disciples, who were Bertoldo,^[82] a Florentine sculptor, who imitated him pretty closely, as may be seen from a battle, in bronze, between men on horseback; a very beautiful work, now in the guardaroba of the signor duke Cosimo;^[83] Nanni d’Antonio di Banco, who died before him; Rossellino, Disiderio, and Vellano da Padua; ^[84] but it may indeed be affirmed, that all those have been his disciples who, since his death, have desired to work successfully in relief. The drawings of Donato are extremely bold, and his designs evince a facility and freedom which have no equal, as may be seen in my book of drawings, where I have figures clothed and naked, drawn by the hand of this master, with some of animals, which astonish all who see them; and many other extremely beautiful things.^[85] The portrait of Donato was executed by Paolo Uccello, as has been related in the life of the latter. The epitaphs are as follows:—

“Sculptura H. M. a Florentinis fieri voluit Donatello, utpote homini, qui ei, quod jamdiu optimis artificibus, multisque sseculis, turn nobilitatis turn nominis acquisitum fuerat, injuriave tempor, perdiderat ipsa, ipse unas, una vita, infinitisque operibus cumulatiss. restituerit: et patriae benemerenti hujus restitute virtutis palmam reportarit.”

---

“Excudit nemo spirantia mollius aera
Vera cano: cernes marmora viva loqui
Graecorum sileat prisca admirabilis setas
Compedibus statuas continuisse Rhodon.
Nectere namque magis fuerant hsec vincula digna
Istius egregias artificis statuas.

---

“Quanto con dotta mano alla scultura
Gia fecer molti, or sol Donato ha fatto:
Renduta ha vita a’ marmi, affetto ed atto:
Che piu, se non parlar, può dar natura?”

Donato left the world so well furnished with his works, that we may with truth affirm, no artist to have worked more than he did. Finding pleasure in every branch of his art, he put his hand to every kind of work without considering whether it were of little importance or high value: but this multifarious action of Donato in every kind of relief, whether alto, mezzo, basso, or bassissimo, was without doubt exceedingly serviceable to sculpture, seeing that as in the good times of the ancient Greeks and Romans, it was by the number ot masters that the art was brought to perfection, so it was by the vast amount of his labours that Donato alone sufficed to restore it to the admirable and perfect condition wherein we see it in our day.^[86] For this cause artists are more deeply indebted to him, than to any other man born in modern times, for the grandeur of this art; since he not only rendered the difficulties of the art less formidable, by the immense variety of his works, but also because he combined, in his own person, the invention, judgment, practice, power of design, and every other quality that can, or ought to be, ever expected from the most sublime genius. Donato was extremely bold and resolute, executing whatever he undertook with extraordinary facility, and constantly performing much more than he had promised.

The completion of almost all his works was left to his disciple Bertoldo, but more particularly the bronze pulpits of San Lorenzo, which were eventually finished in great part by his hand, and brought to the state in which we now see them in that church.

I will not omit to mention, that the most learned and very reverend Don Vincenzo Borghini, of whom we have before spoken in relation to other matters, has collected into a large book, innumerable drawings of distinguished painters and sculptors, ancient as well as modern, and among these are two drawings on two leaves opposite to each other, one of which is by Donato, and the other by Michael Angelo Buonarroti. On these he has with much judgment inscribed the two Greek mottos which follow; on the drawing of Donato, “Η Δονατος Βοναρροτιξει” and on that of Michael Angelo, “Η Βοναρροτος Δονατιζει”, which in Latin run thus: Aut Donatus Bonarrotum exprimit et refert, aut Bonarrotus Donatum; and in our language they mean, “Either the spirit of Donato worked in Buonarroti, or that of Buonarroti first acted in Donato.”^[87]

1. In the fiscal register for 1430, this artist is called Donato di Niccolò di Betto Bardi, but in other documents he is sometimes called Donatello. When mentioned in reference to his works, he is usually called Donatello Fiorentino.
2. In three documents cited by Gaye, the date of Donato’s birth is variously given, as in 1382, 1386, 1387. We abide by the common opinion, that he was born in 1386.
3. According to Masselli, Donato first studied painting under Lorenzo di Bicci: but the intelligent German commentators do not think this opinion well supported.
4. The high encomiums bestowed by Vasari, and after him by Borghini and Baldinucci, on Donatello, whom they declare to be the true restorer of sculpture, appear to be principally founded on the fact that he first succeeded in giving to his figures that freedom of movement, and force of expression, which were afterwards carried to the highest point by Buonarroti; a manner which, from the imposing solemnity of the effect produced, is called by the Italians il terribile. For a comparison of the manner of Donato with that of his contemporary Lorenzo Ghiberti, see Rumohr, Ital. Forsch. ii, 286.
5. Not marble, as Cicognara implies, but a fine-grained sandstone, called macigno, and found in many parts of the Apennines; it is considered to be in the highest perfection near Fiesole, and is sometimes called “Pietra Fesulana” from that circumstance. This stone receives various names, according to its colour, whether a lighter or darker grey, as serena, griccia, etc.
6. This work still exists, but it is to be remarked that the boys are four, not six; and they are not in stone, but wood. The bassi-rilievi are engraved by Cicognara, ii, pi. 5.
7. Hence the proverbial expression, “piglia del legno e fanne uno tu” (take wood and make one thyself), which is constantly used to whoever disparages a thing which we think so good, that it could not be done better. — Masselli.
8. An annotator of the seventeenth century, who has written notes on the margin of a copy of Vasari, which afterwards came into the possession of the painter Cav. Bossi, remarks that “in those days painters did not play the gentlemen as they do in our times,”— Ed. Flor. 1846-9.
9. The crucifix of Brunellesco is still in Santa Croce, in a chapel be longing to the Bardi family, at the upper end of the north aisle. See Cicognara, ii, pi. 5, vol. 4, p. 88, for plates of these two works, with a comparison of their respective merits.—Schorn.
10. Not by Cosimo de’ Medici, but by the executors of the will of the pope, Baldassare Coscia (John XXIII). The inscription on the tomb is as follows:—

    “joannes quondam papa xxiii, obiit florentie anno domini
    mccccxviii, xi kalendas januarii.”

    See Del Migliore, Firenze Illustrata.

11. See Cicognara, ii, pi. 10. —Schorn.
12. Now placed over an altar between the central door of the chureh and that opposite to the Bigallo. This work also is engraved by Cicognara, ii, pi. 6.— Ibid.
13. This figure being corroded by the action of the weather, was removed in 1721, to make way for one sculptured by Gio. Battista Foggini, which is still to be seen there.— Masselli.
14. The column here mentioned was certainly not taken from San Giovanni; nor was that church at any time a temple of Mars. See Borghini, Discorsi. Migliore, Firenze Illustrati, etc.
15. It is not now known where this figure is. Bottari erroneously speaks of it as placed within the church, being misled by the annotator to the Riposo of Borghini, who has taken the Ezekiel of an unknown author, for the Daniel of Donato.
16. “Which of the four Evangelists was executed by Donatello it is difficult to ascertain,” remark the Florentine editors of 1849, “since all were removed on the destruction of the fagade in 1586, when they were placed in the four chapels of the principal tribune of the cathedral.” Masselli, who follows Richa, attributes the whole four to Donatello; but this the later Florentine commentators affirm to be a mistake, seeing that Niccolò d’Arezzo and Nanni d’Antonio took part in the execution of these works. See ante, the lives of these masters.
17. See ante, the life of Luca della Robbia. The later Florentine commentators, quoting Rumohr, cite a decree of the Superintendents of the Duomo and the Syndics of the Guild of Wool-staplers, b}r which Donatello is commissioned to execute two doors of bronze, for the two new sacristies of the Florentine Cathedral. But Donatello being prevented “by sufficient causes” from proceeding with these doors, one of them was given to Luca della Robbia, who completed it in company with Michelozzo and Bartolommeo; the other still remains to be done.
18. They are executed in the graceful manner which distinguishes that in the chapel of the Cavalcanti in Santa Croce.— Masselli.
19. The painted glass of the other windows has been replaced by clear glass, in contravention of the founder’s wishes, “to give the church more light.” —Ibid.
20. This figure still retains its place.
21. The construction of Or San Michele was completed at the cost of the principal Guilds of Florence; and in the foundations, laid 29th July 1337, were placed gold and silver coins, with the following inscription: — Ut magnijicentia Populi Flor. artium et artificum ostendatur. Thence it was that every Guild resolved to erect a statue of its patron saint, either of bronze or marble, in the niches of the external walls.
22. A work highly praised by Michael Angelo, and which also still remains.
23. From certain records extracted from the Book of the Joiners’ Guild, and published by Gualandi (Memorie delle belle Arti, serie iv, p. 104-7), it appears that Donatello undertook this work without the assistance of any other artist, although Niccolò d’Arezzo was sent to Carrara to purchase the marble. For further details, see Gualandi, ut supra.
24. A long and erudite discourse on this statue was written by Francesco Bocchi, about the year 1571. It was printed by Marescotti in 1584, with the title of Eccellenza della Statua di San Giorgio di Donatello, etc., and was reprorlneed in the Lettere Pittoriche. Engravings of the statue will be found in D’Agincourt and Cicognara.
25. These bassi-rilievi are now in the last niche on the north side.
26. Three only of these figures are by Donatello, and these bear his name, which is engraved on the plinth: their height is three braccia and a half. They are, the San Giovanni; the David, called Lo Zuccone; and the Prophet Jeremiah, or Solomon. The fourth is the work of a certain Giovanni Rosso, and bears his name. Baldinucci had long since named this master as the author of one of these statues, but which of them he had produced was not known until the year 1831, when the scaffolding erected for the repair of the building, presented an opportunity for ascertaining the fact.
27. So called because entirely bald. Cicognara, who has engraved it, considers that what Vasari has said of the San Marco, would be more properly applied to this statue.
28. Until the year 1495, this statue adorned the house of Piero de’ Medici; who was then exiled, and the Judith was transferred to the Ringhiera of the Palazzo de’ Signori, being placed where the David of Michael Angelo now stands, as appears from old pictures representing the death of Savonarola. It is adorned with the significant inscription which follows, and which may still be seen there:—Exemplum Sal Pub. Civtes posuere, m.cccc.xcv. In 1504 it was finally placed where it now is, and where, according to Vasari, it first stood.— Masselli.
29. A singular proof of foresight is to be remarked in this artist, observes Cicognara, in reference to this statue—the care, namely, with which he has restricted the attitudes of his figures, in the hope of preserving them from the mutilations so common among works of antiquity. With this view, he has restrained the gestures within the narrowest limits permitted by a due attention to the effect which he desired to produce.
30. This is not strictly accurate, his signature appearing on others of his works also: the Judith is one of the latest works of Donatello. Rumohr remarks that the pulpit of San Lorenzo is very rudely cast; and from this circumstance he conjectures that Donatello may have secured assistance for the execution of the Judith. — Ital. Forsch. ii, 239.
31. Cosimo the Elder: Pater Patriae.
32. Now among the bronzes preserved in the Gallery of the Uffizj.
33. This figure is also in the Uffizj, in the western corridor, and on the left hand.—Masselli.
34. These medallions are still in their original position, and are in good preservation.
35. A Marsyas of white marble is now in the Gallery of the Uffizj, and is supposed to be that here mentioned; but the mediocrity of the workmanship renders us doubtful of the truth of this opinion. —Ed. Flor. 1846-9.
36. We are not prepared to say to what extent these works have been preserved.— Masselli.
37. The fate of the first-named fountain is unknown; the second is still in the place here mentioned. —Ibid.
38. If these works are still in existence, they have been distributed into various places, now unknown.—Ibid.
39. These were in the street which takes its name from that family, which now resides in the Via della Forca.— Masselli.
40. An unfinished statue in marble, still to be seen, with other works of Donatello to be mentioned hereafter, in the residence of the Martelli family, in the Via della Forca. — Ibid.
41. Cicognara speaks at length of this statue, comparing it, entirely to the advantage of Donatello, with other figures of the saint, by the most famous painters; he also gives a drawing of the work.
42. Cicognara gives a drawing of another admirable work of Donatello, now in the Martelli Palace—a bronze medallion or patera, which appears to be the imitation of an antique; whence it may be inferred that there have been, and probably still are, other imitations, no less excellent, by the same artist. An equally admirable work of this master is also in that palace—a bust of San Giovannino, so beautiful and so exquisitely finished as to be a perfect gem. Schorn affirms that the idea of Raphael’s John the Baptist was taken from this work. The genealogical tree of the Martelli family was executed by Donatello on the fa9ade of their ancient house; but when the destruction or removal of these memorials of the nobility was commanded by the conquering French Republic in 1799, this work was removed to the present dwelling of the family. See Cinelli, Bellezze di Firenze.
43. Schorn, who quotes Baldinucci, vol. iii, p. 76, note, observes that in this monument, which was erected to the memory of Cardinal Rinaldo Brancacci, Michelozzo took part; and Gaye (i, 117-9) cites a document wherein this work is mentioned, among others by Michelozzo, in the following terms: “We have a tomb in hand for Naples, which is intended for Messer Rinaldo, Cardinal de’ Brancacci of Naples. We are to have 850 florins for this tomb, but have to finish and take it to Naples at our own expense; they are now working on it at Pisa.” Some heads and figures from this tomb may be seen in Cicognara, ii, pi. 8.
44. And it is in fact the relic of an antique horse, which stood before the cathedral, but was melted down by an archbishop to make a great bell. Mention is made of it by Sarnelli in the Descrizione di Napoli; in the Vite de Pittori Napoletani of Dominici, in the Storia of Winckelraann, etc. So far Masselli. Schorn remarks, that this head was formerly in the Colobrano Palace, and is now in the Royal Museum. The later Plorentine editors observe, that Vasari himself, in his first edition, expressed a belief that the head was antique.
45. Although we find it recorded that on the 14th July, 1428, the Wardens of the Girdle “gave the external pulpit, wherein the girdle is shewn, to Donatello di Niccolo, and to Michele di Bartolommeo (Michelozzo) to be made, yet the contract for its execution was not finally completed until 1434. Lorenzo Ghiberti was chosen arbiter of this work, which cost 330 florins. See Descrizione della Cattedrale di Prato, where (pl. 4) a part of the pulpit is engraved, giving two groups of the dancing children, which are the most admirable portion of the work. The number of the compartments is seven.— Ed. Flor. 1849. See also Cicognara, ut supra.
46. The author of the Descrizione above cited, p. 79, believes with good reason that this second capital—or, more properly, part of the same capital —was not carried away in the sack of 1512. He inclines to think that it was never erected in the place destined for it.
47. Erasmo da Narni, called Gattamelata, leader (condottiere) of the Venetian troops.
48. Schorn remarks that the figure of the rider is somewhat too small, when considered in relation with that of the horse; and Masselli asserts that the rider is not so much esteemed as the horse. He proceeds to observe that the signature of the master, “opus donatelli florentine”, is on the girth of the animal, which moves in the manner already alluded to, when describing the horse of Paolo Uccello. The same thing, he further remarks, may be observed of numerous horses, antique as well as modern, not excepting the horse of Phidias on the Parthenon.
49. This work is highly praised by Cicognara, who has engraved a portion of it. See the Storia della Scultura, etc., vol. ii, plate 7. For a minute description of other works of this master in the same church, see the Lettere Pittoriche, vol. i, p. 70. Fantuzzi, Monumenti Ravennati, and Gualandi, Memorie di Belle Arti, also give various details respecting him.
50. The horse, which still exists, is thirty palms long; but this somewhat excessive length is perhaps accounted for by the fact that it was to be placed on wheels and used in the public spectacles, in which position the proportions would most probably acquire correctness. It is further said—and a little poem in Latin, by Giovanni de’ Martini, attests the fact—that a gigantic figure of Jupiter (corresponding, that is, with the dimensions of the horse) was originally seated on its back.
51. There is a Deposition from the Cross by Donatello, over a door of the Chapel of the Relics in the Santo of Padua, which is highly praised by Cicognara, who gives a plate of it.
52. In the church of Santa Maria de’ Frari. It is still in its place on an altar (which is also the work of good Florentine artists) near to the monument erected to Canova. Cicognara considers the small bronze door of a eiborium, of which he gives a drawing, and which is now in the Academy of the Fine Arts, to be also a work of Donatello, executed for the church of the Servi.—Masselli.
53. The figure of San Girolamo (St. Jerome) is still preserved in the convent of the “Frati Riformati” in Faenza. Being somewhat injured by the worm, it was restored and coloured in the year 1845. There is likewise a bust of San Giovannino in the house of the parish priest of the Borgo, which is believed to be by Donatello. — Ed. Flor. 1849.
54. The monument of the learned Bartolommeo Aragazzi, secretary, and afterwards gentleman of the chamber, to Pope Martin V.
55. This work is still to be seen in one of the small rooms beside the Tribune.
56. Bottari remarks that this work was removed to make way for that of Bernino, in gilded bronze, which was copied from the temple erected by Bramante in the cloister of San Pietro in Montorio.
57. Della Valle declares this to be incorrect. “The San Giovanni,” he says, “is entirely complete, but is more like a wild hunter than the Baptist.” See also Rumohr, Ital. Forsch. ii, 361. The later Florentine commentators enumerate several works of this master as likewise existing in Siena. See on this subject also Rumohr, as above cited, pp. 208,239, 359, etc.
58. All these works still exist.— Masselli.
59. hey were destroyed by exposure to the weather, and were replaced by others. —Ibid.
60. Cicognara gives an engraving of this work, to which he accords due praise. See vol. ii, pi. 7. Richa also gives a plate of these bassirilievi.
61. “Who certainly,” remarks Cicognara, “has not laid hands on the work of his master without extreme discretion and much careful thought.”
62. These figures have been destroyed by exposure to the weather.— Masselli.
63. The figure of St. Louis is still in its place. Bottari thinks it needful to observe that Donato must have been jesting.
64. This lady was born Countess Bardi di Vernio. —Schorn.
65. This work has disappeared, as has also the bust of the duchess. — Masselli.
66. In the edition of 1568, Vasari has Fra Ber., of which Bottarimade Fra Bernardo, a master who never existed. Later editors followed Bottari, complaining at the same time of Vasari, for not having mentioned the master again, as he had promised to do. But this abbreviation should doubtless be read Fra Bar. for Bartolommeo (della Porta), in whose life Vasari speaks at greater length of these miniatures, which are still in existence.
67. Of the works of art described as to be found in the Guardaroba of Duke Cosmo, some are still preserved, either in that place, in other parts of the palace, in the royal villas, or in the public gallery; but very many are dispersed. —Masselli.
68. Of this work, and that next described, nothing is now known. — Ibid.
69. This small statue represents a child, smiling, and in the act of shooting an arrow. The head is crowned with rushes, with a flower in front; the shoulders and feet are winged, and a short fawn-like tail is on the back; small snakes surround the feet; and the vestments of the figure are bound to the waist by a cincture of poppies. Opinions vary in regard to this statue. Some—as, for example, Cinelli—consider it antique; others—among whom is Lanzi—affirm it to be modern. The latter informs us that it is placed in the Gallery, in the hall of the modern bronzes.
70. Neither of this Virgin, nor of that next mentioned, have wo any trace.—I.
71. A man of letters and legist, who edited the Pandects, after the famous Pisan (now Florentine) Codex.
72. Masselli enumerates many others: among them, a St. John the Baptist, in marble; an adult figure, much attenuated, and engraved by Cicognara, but with some expression of doubt as to its authenticity.
73. These tombs are still in their place. —Masselli.
74. See his life, with that of Filarete which follows.—Ibid.
75. Under this pope, Donato erected the tomb of Giovanni Crivelli, the Milanese, Archdeacon of Aquileia, on which he inscribed the words “opus donatelli florentine” This tomb is in the church of Ara Coeli in Rome (not in that of the Minerva, as asserted by Manni, in his notes to Baldinucci), and stands before the chapel of the Transfiguration. There was also a statue of St. John the Baptist, carved in wood, by the same master, in the sacristy of San Giovanni Laterano; and Della Valle tells us that he was commissioned to execute a figure of the same saint for the baptismal font of Orvieto.
76. Sigismond, King of the Romans, was crowned Emperor on the 31st of May, 1433.— Ed. Flor. 1849.
77. It is to be regretted that Vasari mentions the restoration of the Marsyas only. —Masselli.
78. Vespasiano da Bisticci, in his life of Cosmo the Elder, has the following passage, among others relating to Donatello:—“As Donatello did not go dressed in the manner that Cosimo would have liked, the latter caused a mantle and cap to be made for him, with a cape beneath the mantle; and thus providing him with a new suit, he sent it to the master one morning that there was a festival, to the end that he might wear it on that occasion. Donato wore it once or twice, but after that he sent it to Cosimo again, because, as he said, it appeared to him to be too dainty.”—Vita di Cosimo, in the Spicilegium Romanum, edited by Cardinal Mai.
79. Of this house there is no other memorial than that of a contract for letting it, bearing date in the year 1443, and which is cited by Manni in his notes to Baldinucci. This document sets forth that a certain Manno di Giovanni Temperani, “locat ad pensionem Donato, vocato Donatello, olim Nicholai Betti, scultori, populi Sancti Laurentii de Florentia, domum cum horto, apotheca et aliis in populo Sa7icti Michcelis Vicedominorum loco dicto. Da Casa Bischeri,” etc.
80. Palmieri, in his work De Temporibus, assigns 1468 as the year of Donato’s death. The “1466” of Vasari, is perhaps an error of the press.
81. Bottari observes that another reason for his choice of San Lorenzo, may have been that many of his works were there; as Vasari also informs us, in a passage of his Ragionamenti. Donatello had previously secured a tomb in this church, as we learn from Manni, who cites the grant made by the Prior Piero Betti. The sepulchre of Donatello was granted, in the year 1547, to the Scalandroni family.
82. Cicognara remarks that Bertoldo was an artist whose works are far from approaching the perfection attained by Donatello, excepting only in the one instance of a most beautiful medallion, representing Mahomet II. On one side is the likeness of Mahomet; and on the reverse is a chariot drawn by horses, on which is the Genius of Victory, who drags after him three female figures, naked and chained, to signify three kingdoms conquered. Cicognara remarks that the beauty and elegance of these figures, might entitle them to be called the Three Graces, rather than three subjugated kingdoms. Beneath are the words, “opus bertoldi florentini sculptoris. ” One of the principal merits of Bertoldo is, that of having been the head of that sort of academy or school of art which the magnificent Lorenzo assembled in his gardens, and also the collector of many models, drawings, etc., which had been used by his masters, but which are now unhappily lost. —Masselli.
83. There is a battle in basso-rilievo, in the hall of the modern bronzes in the Florentine Gallery, which is certainly very beautiful. Some think it that here alluded to; others consider it too fine to be a work of Bertoldo: but the praises given to the medallion of Mahomet, and the comparison of that work with the one here in question, might serve to remove these doubts. —Ibid.
84. The lives of these artists follow in due course. Among the disciples of Donato, properly so called, must be numbered a certain Giovanni da Pisa, whom Donatello, according to the Anonimo of the sixteenth century, published by Morelli, had with him in Padua, and by whom there is an excellent alto-rilievo in terra-cotta, in a chapel of the church of the Eremitani in that city, of which Cicognara has given an engraving, —Masselli.
85. In the collection of drawings of the Florentine Gallery, there is a beautiful head of a child by Donatello; it is in water-colours on blue paper; the high lights are white. — Schorn.
86. Schorn remarks that in many of his compositions in relief, Donatello adopted the system of Ghiberti, as regarded perspective; but in others he imitated the ancients. He adds that to Donatello is due the merit of having been the first to follow their example, in a regular and consistent manner, as relates to the treatment of both high and low relief. — German Edition of Vasari, vol. ii, p. 256.
87. Of the many epitaphs composed, as Vasari has remarked, in honour of Donatello, not one was placed on his tomb. It is true that towards the middle of the last century, the following inscription, composed by the Canon Salvino Salvini, was placed near the entrance of the crypt:—

    “donatellus
    restituta antiqua sculpendi cœlandiq. arte
    celeberrimus
    medicis principibus summis bonarum
    artium patronis apprime carus
    qui ut vivum suspexere
    mortuo etiam sepulcrum loco sibi
    proximiore constitderunt
    obiit idibus decembris an. sal. mcccclxvi.
    jet. su-ffi. lxxxiii.”