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,[1] 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;[2] Nanni d’Antonio di Banco, who died before him; Rossellino, Disiderio, and Vellano da Padua; [3] but it may indeed be affirmed,
- ↑ 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.
- ↑ 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.
- ↑ The lives of these artists follow in due course. Among the disciples
