DONATELLO. 384 DONATI. signed by IVmatello, nithoiigh tlioir imperfect execution points to the work of his pupils. During the same time he completed his reliefs for the organ gallery of the Cathedral of Flor- ence (1440), a counterpiece of the similar sub- ject by Luca della Robbia (q.v.). It is full of energy and dramatic action, the exaggerated motion ami sketchy execution tieing calculated for an elevated position. Ruberto Marlelli was also an appreciative patron, as is evinced by a large nximber of Donatello's works preserved in his house. Among these was a line coat of arms of the family, a large bronze patera, deco- rated with Hacchanalian scenes, now in South Kensington Museum, London, and two repre- sentations of Donatello's favorite subject, "John the Baptist," — a bust and a statue. The statue represents him as a youthful ascetic, as does also an older statue in the Musco Xazionale, but the bust, as well as a relief of John the Baptist, in the Museo, and another at Facnza, are more ideal. Donatcllo also represented him as the ascetic )>reacher of the desert in a wooden statue in the Church of the Frari, Venice (1451), and in a bronze statue in the Cathedral of Siena (1457). Similar to the latter is the skeleton- like wooden statue of "Magdalen," in the Bap- tistery of Florence. The third period of Donatello's art (1444-GG) begins with hi< call to Padua in 1444, where he was invited to execute a bronze e<|ueslrian statue of "Erasmo de' Narni," called "Oattame- lata." This work was not finished till 14.5."). As the first bronze statue since antiquity it was epoch-making in art. The rider is of dignified and noble bearing, and the heavy war-horse is full of life, and no less a portrait than the rider, though the action in walking is untrue to nature. During his stay in Padua he designed a large number of bronze sculptures for the great altar of San Antonio, which are now scattered through the church. .-mong the subjects represented were statues of the "Four Patron Saints of Padua," and reliefs of a "Pietii," an "Entomb- ment of Christ" (in plaster), "Miracles of Saint Anthony," "STnbols of the Evangelists." and "Angels Singing and ilaking Music." .lthoiigh designed by Donatcllo. these works were executed by hi>; pupils. The "Miracles of Saint . thony." in particular, show clearness of composition and dramatit action luiexcclled in his other works. Notwithstanding the inducements olTcred him to remain at Padua, Donatcllo was unhaj)py away front Florence, and in MrtO he left. After visiting Venice. Ferrara. and other North Italian cities, he returned to Florence in 14.57, where he passed the rest of his life, except for a brief stay at Siena. He devoted himself to finishing his work in San Lorenzo, a foundation of the Medici. In 1428 he had executed a fine bronze sepulchral statue for Giovanni. Cosinio's father, there, and liefore his departtire for Padua he had designed the excellent plastic decorations of the Old Sacristy. After his return he designed the sculptures of the two pulpits, which he did not live to complete. They arc dramatic in de- sign, but inferior in finish, and, like most of his work of this last period, they show a decline. He died on December 13, Hfifi, and was buried in San Lorenzo, near his friend Cosinio de' Me- dici. Vasari's charming anecdotes, confirmed by what we otherwise know, picture him as a modest and lovable character, generous with money and careless of appearance. Seldom has an artist appeared who was more revolutionary and broke more completely with the past than Oonatello. His contemporaries, Ghiberti and Luca della Robbia, represent more the conservative tendencies of the age. Donatcllo was the great radical. They were the classicists, he the realist — a realist of the highest kind, whose works were true to nature, without being slavish copies. Not that he was deficient in knowledge of the antique, or in the sense of Ix-auty. He deliberately sacrificed beauty to character, which no one could portray better than he. His works also abound in dramatic action. lie was an excellent technician, and whether working with bronze or marble, he gained the best ctTeets that his materials would yield. He excelled in the treatment of flesh, and was a consummate master in relief, ranging throigh its entire scope, and never losing the plastic effect, as was done by Ghiberti. In his last period, however, his compositions became overcrowded and the action is exaggcrate<l. No other artist of the day understood perspective in sculpture as he did: Vasari records interesting ane<'dotes of the astonishment of the Florentines at the near and distant cfTccts of his statues and reliefs. Donatcllo left a large and important school, the principal representiitives of which were Andrea del 'er(K'chio, l>esiderio da Setti- gnano, . tonio Rossalino, and Bertoldo, teacher of Michelangelo, His inlluence more than any other dominated the sculpture of Florence throughout the fifteenth century, until the cvd- mination of Italian art in Michelangelo, his artistic descendant. It also was the inspiration of the sculpture of northern Italy, and even of the painting, as is seen in the ca,sc of .Mantegna, the chief master of Padua, who cojjied statues of Donatcllo. Not only was bo considered the greatest sculptor of his day. but modern criti- cism has confirnu'd this judgment, placing him among the greatest sculptors of all time. Bim.iO(iR.i"iiY. The chief source of informa- tion for the life of Donatcllo is Vasari's I.irei of the Painters, edited by Milancsi I Florence, 1878; English translation by Blashfidd, New York, 18!l(i). vol. i. The best modern biogra- phies are those of iliintz (Paris, 188.5), and Semper (Innsbruck, 1887), who is probably the Im'sI modern authority. Others are those of Si-hmarsow (Leipzig, 188(>) : Pastor (Gicssen, I8H2) : TromlK'tta (Rome, 1887): Angelini, Ca rocci, and Mclani ( Floreni'C, 1887): Reymond 'Paris. 18!in). The fcdio of Cavaluct'i. Viln rd operr di T)onntr}1n (Milan. 18S(!), contains ex- cellent photographic illustrations. Of the works on different i)hases of Donatello's life and art, see Gloria, Dounlrllo til Padovn (Padua. ISSI.'i) ; Tschudi, Dnnntrllo c la crillrn mtidrrnn (Turin, 1887). There is no pood English biography of Donatcllo: see, however, Perkins, Tiisrnn Snil])- lor.i (London. 18(54) ; RosenlxTg, in Dohme's Kuiist und Kiinslhr [inlirn.i (l^-ipzig, 1878), vol. i. : Bode. Itnlirnische liildbauer dcr Renais- siiyirr (Berlin. 1887). DONATELLO. A young Tuscan nobleman in IlMwIlinrnc's Marhle Faun. DONATI, d6-n!i't(*, Giovanni Battista (1826- 73), An Italian astronomer, professor in the Royal Institute and director of the obserx'atory
