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
Footnotes
1 Gaye, Carteggio, i. 120. See Appendix II. A.
2 Cinelli, p. 22.
3 23, xii. 1418.
4 12, xii. 1408.
5 30, v. 1421.
6 Osservatore Fiorentino, 1797, 3rd ed., iv. 216.
7 Daniel i. 15.
8 Semper, I., p. 132.
9 Schmarsow, p. 10.
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.
11 MS. Sketch-Book in Bibl. Naz., Florence, lettered “Ghiberti,” folio 51a.
12 Cf. Madame André’s prophet and figures on Mandorla door.
13 On the Brenzoni tomb in the Church of San Fermo: “Quem genuit Russi Florentia Tusca Johañis: istud sculpsit opus ingeniosa manus.”
14 Pliny, xxxiv. 19, 3.
15 Bargello David.
16 In 1496. See Gruyer, “Les Illustrations,” 1879, p. 206.
17 C. Müller, “Ancient Art and its Remains,” p. 227.
18 Pliny, xxxvi. 44.
19 Printed in Richter’s “Literary Works of Leonardo da Vinci,” vol. i.
20 By Francis Grose, the Antiquary. London, 1788.
21 Edition 1768, p. 74.
22 E.g., Milanesi, Catalogo, 1887, p. 6.
23 Cinelli’s edition, 1677, p. 45.
24 Raffaelle Mengs, Collected Works. London, 1796, I., p. 132.
25 Printed in Vasari, Lemonnier Ed., 1846, vol. i.
26 In Introduction to his translation of Tacitus.
27 Discourses, 1778, p. 116.
28 They were standing as late as 1768. Baldinucci, p. 79.
29 Memoriale, 1510.
30 Cinelli ed., p. 66.
31 Bocchi, 1765 ed., p. 128.
32 Spira il volto divozione e Santità, Cinelli, p. 66.
33 Gualandi, “Memorie,” Series 4, p. 106.
34 “Eccelenza della Statua del San Giorgio di Donatello,” 1571.
35 Bellezze, 1677, p. 67.
36 “La Sculpture Florentine,” vol. ii. p. 91.
37 Victoria and Albert Museum, 7607, 1861.
38 Uffizzi, frame 49.
39 Eremitani, Padua, about 1448-50.
40 “Mélanges d’Histoire,” p. 248.
41 Introduction, i. 122.
42 “Vita de’ Architetti,” 53.
43 Ibid. 151.
44 “Discourses,” 1778, p. 237.
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.
46 23, iv. 1448.
47 Vasari, iii. 247.
48 In the Capella Gondi, Santa Maria Novella.
49 In San Giorgio Maggiore, Venice.
50 Borghini, Donatello’s earliest work. Semper, 1406. Schmarsow, 1412. Bode, before the second journey to Rome in 1433. Reymond, 1435.
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.
52 E.g., Pacifico tomb about 1438 and the Francesco Foscari tomb about 1457, both in the Frari.
53 “Due Trattati di Benvenuto Cellini,” ed. Carlo Milanesi, 1857. Ch. 6 on marble.
54 Cf. Putti on the Roman Tabernacle.
55 Bocchi, p. 316.
56 “Memoriale di molte statue e pitture della città di Firenze,” 1510.
57 Or San Michele niche, San Lorenzo Evangelists.
58 In the Berlin Gallery.
59 Berlin Museum.
60 All three in Bargello.
61 See p. 185.
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.
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.
[64] Domopera archives, 12, viii., 1412.
65 Ibid., 31, xii., 1407.
66 Padua, 3, iv., 1443.
67 When working at Pisa in 1427. See Centofanti, p. 4.
68 Commission for bronze Baptist for Ancona, 1422.
69 Contract in Orvieto archives, 10, ii., 1423.
70 Domopera, 2, ix., 1429.
71 Ibid. 18, iii., 1426.
72 “Due Trattati,” ch. xii.
73 Pomponius Gauricus, “De Sculptura,” 1504, p. b, iii.
74 April 1434.
75 See American Journal of Arch., June 1900.
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.
77 Uffizzi, Frame 6, No. 6347 f.
78 See Life by J.T. Smith, 1828.
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.
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.
81 Cf. Payments to Andrea Moscatello, for painted and glazed terra-cotta for the Paduan altar. May 1449.
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.
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.
84 Siena Library.
85 Domopera, 7, vii. 1433.
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.
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.
88 9. v. 1427. Milanesi, ii. 134.
89 Lusini, 28.
90 See “Arch. Storico dell’ Arte,” 1893, p. 209.
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.
92 Op. cit. p. 70. In this drawing two putti are also shown holding a shield, above the monument; this has now disappeared.
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.
94 “Letters,” Florence ed. 1741, vol. ii. 45.
95 Donatello worked there for eighteen months. See documents in Centofanti, p. 4, &c.
96 “... Lapides albi et discolores ad cœruleum vergente specie.” Strabo, “Geog.,” 1807 ed., I. v. p. 314.
97 Louvre, No. 216. Tomb of Philippe Pot, circa 1480.
98 “Vita di Michael Angelo,” Rome, 1553, p. 49.
99 Victoria and Albert Museum, Charge to Peter. See p. 95.
100 British Museum, Assyrian Saloon, Nos. 63-6.
101 Bode, “Florentiner Bildhauer,” p. 119.
102 In the Museo Archeologico in the Castello, unnumbered.
103 By Alfred Gilbert, R.A., belonging to the present Earl of Lytton.
104 See Armand, “Les Médailleurs Italiens,” 1887, iii. p. 3.
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.
106 Bocchi, 354.
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.
108 See “Archivio Storico dell’ Arte,” 1888, p. 24, &c.
109 In Santo Stefano, Cortile di Pilato.
110 “Misc. Storica Senese,” 1893, p. 30.
111 See p. 171.
112 From the Duchess of Malfi, quoted in Symonds’ “Fine Arts,” p. 114.
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.
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.
115 See his Libellus in “Rer. Gall. Script.,” xiv. 313.
116 Nihil fere recognoscat quod priorem urbem repræsentet, in “De Varietate fortunæ urbis Romæ.” Nov. Thes. Antiq. Rom., i. 502.
117 “Ricordi,” 1544. No. 109, p. 51.
118 Written about 1450. “De re ædificatoria.” Paris ed. 1553, p. 165.
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).”
120 Vasari, “Proemio,” i. 212.
121 Cosa allora rara, non essendosi dissotterata quella abbondanza che si è fatta ne’ tempi nostri, i. 203.
122 “2nd Commentary,” in Vasari, I. xxviii.
123 Gaye, i. 360.
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.”
125 “Works,” 1796, i. 151.
126 “Lectures,” 1838, p. 248.
127 Semper, p. 93.
128 Ed. 1768, p. 74.
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.
130 See Schmarsow, p. 32.
131 See “Arch. Storico dell’ Arte,” 1888, p. 24.
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.
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.
134 Molinier, “Les Plaquettes,” 1886, p. xxvi.
135 Cf. St. Ursula, Accademia, Venice, No. 574.
136 “... una colonna nel mezzo dove è un Davitte di Donatello dignissimo.” Letter to Alberto Lollio, 17. viii. 1549, Bottari, iii. 341.
137 Giù abasso è Davit di bronzo sopra la colonna fine di marmo variegato. “Memoriale.”
138 “Life of Bandinelli,” x. 301.
139 “Due dialogi di Giovanni Andrea Gilio da Fabriano,” 1564; a tiresome and discursive tirade.
140 22. viii. 1582. Reprinted in Bottari, ii. 529.
141 Contract with Domopera of Siena. Payment for wax, for making the bronze figures for the Baptistery. 16, iv. 1428. Lusini, 38.
142 Reymond, I., p. 107.
143 By Nino Pisano, in Sta. Caterina, Pisa.
144 14, vii. 1428.
145 27, v. 1434.
146 Letter from Matteo degli Orghani, printed with the other documents in C. Guasti, opere, iv. 463-477.
147 A pair of terra-cotta variants of these panels are preserved in the Wallace Collection at Hertford House.
148 Psalm cl.
149 Psalm cxlix.
150 “Trattato della Pintura,” Richter, i. 291.
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.
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.
153 From the Piot Collection. Figured in “Gaz. des Beaux Arts,” 1890, iii. 410.
154 Victoria and Albert Museum, No. 475, 1864. A winged boy carrying a dolphin.
155 In Grosvenor House. Bronze; generally known as “The Laughing Boy.”
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.
157 No. 383. Marble. Goupil Bequest.
158 Stucco, No. 38A. Cf. also one belonging to Herr Richard von Kaufmann, Berlin.
159 No. 1274, St. John, Florentine School, a painting.
160 Cf. Naples Museum, No. 5592.
161 Cf. drawings of façades in Vettorio Ghiberti’s Note-book.
162 Bargello Cortile, No. 3, by Niccolo di Piero.
163 Borghini, in 1586, gave a curious recipe for colouring marble according to antique rules. Florentine ed. 1730, p. 123.
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.
165 Victoria and Albert Museum, No. 7585, 1861.
166 Bargello, No. 18, and No. 6, life-sized bronze.
167 Bargello, 17.
168 Gaye, i. 121.
169 Victoria and Albert Museum, No. 923, 1900, and Museo Archeologico, No. 1681, both marble.
170 Nos. 585 and 758.
171 “Life of Henry VII.,” ed. 1825, iii. 417.
172 See Westmacott’s lectures on Sculpture, II. III., Athenæum, 1858.
173 2nd Comm. Vasari, I. xxx.
174 Letter of 1739, p. 186.
175 17, viii. 1549, Antonio Doni, printed in Bottari, iii. 341.
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.
177 Gotti, “Vita,” i. 66.
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.
179 Richa, III., xxxiii.
180 The inscription is: “Votis publicis S. Mariæ Magdalenæ simulacrum ejus insigne Donati opus pristino loco elegantiario repositum anno 1735.”
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.
182 Siena Cathedral, bronze; Berlin Museum, bronze; Frari Church, Venice, wood.
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.
184 Vasari, i. 147.
185 Che niuno maestro di legname possa fare di pietra. Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120.
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.
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.
188 Victoria and Albert Museum, No. 157, 1894.
189 Ibid. No. 7605, 1861, terra-cotta. Louvre, No. 465, ditto.
190 Cf. Herr von Beckerath’s in Berlin, and the Verrocchio-school Magdalen in the Berlin Gallery, No. 94.
191 Michael Angelo Gloria; Donatello Fiorentino e le sue opere... a Padova, 1895, from which the dates are all quoted.
192 See Kristeller’s Mantegna, translated by S.A. Strong, 1901, p. 17.
193 Over the Sacristy doors in the Cathedral.
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.
195 Cf., for instance, the Madonna over the door of the Pisa Baptistery.
196 Cf. drawings of ewers in Uffizzi by Giacomone da Faenza, sixteenth century.
197 Cf. Battle of Romans and Barbarians, No. 12. Museo Nazionale, Rome.
198 Battle, Casa Buonarroti, Florence.
199 The Walpole Eagle from the Tiber, belonging to the Earl of Wemyss.
200 Victoria and Albert Museum, No. 7577, 1861. M.G. Dreyfus has a fine plaquette analogous to these large reliefs.
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.
202 In Ludovisi Buoncompagni Collection, Museo Nazionale, marble. Cf. also the bust of Minatia Polla, so called, which might be by Verrocchio.
203 7, xii. 1549. Printed in Bottari, ii. 70.
204 19, x. 1451. Milanesi, ii. 271.
205 17. x. 1457; ibid. 295.
206 Marble, No. 149.
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.
208 “De antiq. urbis Patavii,” 1560, p. 374.
209 “De Sculptura,” 1504, gathering f.
210 Marble, in Sacristy of S. Antonio.
211 Victoria and Albert Museum, No. 75, 1879.
212 29, vi. 1453. Donatello is still described as abitante in Padova.
213 Victoria and Albert Museum, No. 8717, 1863.
214 Museo Archeologico, Doge’s Palace.
215 Louvre, “His de la Salle Collection,” No. 385.
216 Marble, No. 39 b.
217 Cf. a Donatellesque stucco Madonna beneath a baldachino belonging to Signor Bardini, who also possesses a stucco Entombment similar to the London bronze.
218 Victoria and Albert Museum, No. 8552, 1863. Bronze.
219 Stucco No. 41.
220 See p. 62.
221 v. 100.
222 Mentioned in his will. He died in 1500. Milanesi, iii. p. 8.
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.
224 Marble, Berlin Museum.
225 Victoria and Albert Museum, No. 7412, 1860; Berlin Museum; collections of Herr von Beckerath and Herr Richard von Kaufmann.
226 Louvre, Berlin Museum; Verona, in the Viccolo Fogge; cf. also the relief under the archway in the Via de’ Termini, Siena.
227 Victoria and Albert Museum, No. 57, 1867.
228 Giovanni Bastianini, 1830-68, though the doyen of forgers, did not profit by his dexterity, and died almost penniless.
229 Terra-cotta.
230 Victoria and Albert Museum, No. 8376, 1863.
231 No. 53 e. Bergamo, Morelli Collection, No. 53.
232 Victoria and Albert Museum, No. 93, 1882.
233 Ibid. No. 7594, 1861.
234 One was in the Spitzer Collection, another belongs to M. Gustave Dreyfus.
235 No. 294, Davillier bequest; and in the entrance hall to the Sacristy of the Eremitani at Padua.
236 Terra-cotta No. 39a.
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.
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.
239 7, xii. 1547. “... Donato non fece mai la più brutta opera,” &c. Letter printed in Bottari, i. 70.
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.
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.
242 Casa Buonarroti, Florence.
243 From the Gualandi Collection. It is attributed by some to a Neapolitan sculptor.
244 “Vita,” 1553, p. 14.
245 “Ricordi,” 1554, p. 51.
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.”
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.”
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.”
249 “Dialogues,” Raczynski ed. Paris, 1846, p. 56.
250 “Due Trattati,” ed. Milanesi, 1857, passim.
251 “Due Vite di Brunellesco,” p. 142.
252 Semper, 321.
253 “Lem.,” iii. 243, in first edition.
254 1677 edition.
255 Gauricus, b. 1.
256 Vespasiano de’ Bisticci, Vite.
257 “Vasari,” iii. 253.
258 Ibid. iii. 244.
259 “Fo in Fiorenza ad tempo de’ nostri padri Donatello huomo raro, semplicissimo in ogni altra cosa excepto che in la scultura.”
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.
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.