s ’ v; v ' ) - A DONATELLO i THE WORK OF DONATELLO REPRODUCED IN 277 ILLUSTRATIONS WITH A BIOGRAPHICAL INTRODUCTION ABRIDGED FROM PAUL SCHUBRING NEW YORK BRENTANO’S MOM XX I Copyright, IQI J, by Brentano* s Copyright abandoned August 30, 1921 Printed in Wurttemberg DONATELLO HIS LIFE AND WORK IT is only during the last half century that Donatello, as an artist, has come into his own. The celebration of the five hundredth anniversary of his birthday drew special attention to the master and his work, with the result that unknown treasures have been brought to light and unexpected beauties revealed. The Trocadero Exhibition in Paris, in 1878, included many examples of Donatello’s fine art. William Bode, the famous art critic, has, since that time, given a particular study to this master, and to him belongs the credit of being the first among the newly arisen investigators of Donatello who have devoted their lives to a study of him. To Bode and to the writings of Schmarson, Tschudi, Semper, Muntz, Fabriczy, Cavalericci, Voege and Pastor is due the appreciation in which Donatello is now held — as not only one of the many artists of the Renaissance, but as one of the plastic masters of all times. Among the fourteenth-century artists of Florence, Donatello, without doubt, is the first. If Michelangelo be the father of Barock, then Donatello is its grandfather. Those who know Donatello know him to love him, and in this love they also realize that their knowl- edge is a privilege. To understand Donatello we must know Florence, for Florence is the genius of Donatello embodied in stone. He is the personifi- cation of the Tuscan life, its special activity, its splendid energy and magnificent strength. There is nothing in Donatello of sentimen- tality — he is all power and all virility. By far the greater portion of his work belongs to the art of the street and the art of the Church. We see Donatello’s masterful spirit everywhere in Florence — in its high halls, its spacious squares, its stone walls, its richly decorated churches. From all these places there look down on us the glowing eyes of the passionate faces of his men. These creations of Dona- 5 tello’s hands step beforq us in all fulness of strength like the sons of heroes in the sunlight. They belong to a godly and conquering earthly race, and their strength is not from on high, but is the ex- pression of their native virtue. Those who love the compelling power of the will and the strength of the human form will find re- freshment and delight in these heroic figures of Donatello which are to be met on all sides in Florence. A peculiarity in Donatello’s art and one which, perhaps, may account for its unpopularity is that it concerns itself altogether with the male form. Like most of the sculptors of the Renaissance, Dona- tello was more interested in men, and particularly in young men. Their ideal of beauty was the naked boy, so splendidly realized later, by Michelangelo, in his “ David.” The woman, either up- right or sitting or lying prone, found no place in this art. It would seem as if her existence even were not recognized. When Michel- angelo placed two recumbent naked women on the tomb he exe- cuted for the Medicis in Florence, the work caused a sensation. Such a treatment had never before been given by any sculptor in marble. Donatello’s figures are, most of them, standing men, and almost all of them are clothed. The time had not yet come when an artist could play with the body’s skin and permit it to express its own appealing language. It was not until Leonardo sculptured that this was done. These preliminary remarks are made by way of accounting for the fact that Donatello has remained so long unappreciated and not understood. Donatello’s individuality was that of the strong, mas- terful man. He never comes to us, it is we who must go to him. And to those who dare this adventure he will give bountifully from the rich storehouse of his treasures. We must not expect from Donatello that shining beauty which radiates from the blocks of Michelangelo. Donatello’s nature was of quite a different kind. His energy was not directed to the embodiment of beauty, but to the expression of char- acter, and in this work Donatello has no superior. Donato di Niccolo di Betto Bardi was born in Florence in 1386. His father was a wool-carder and a man who achieved some notoriety in the political affairs of the city. He had been exiled from Flor- ence because of the Ciompi riots and had killed a man in Pisa. He must have been of a somewhat lively temper, since he was later con- demned, for other reasons, to be hanged. He did not suffer the pun- ishment, however, since the Signoria revoked the sentence and rein- stated Niccolo di Betto Bardi in all his rights. 6 Born of such a father, and in such a home, Donatello must have experienced some exciting times in his youth. He was never sent to a school, but was, according to Vasari, employed as one of his assistants by Ghiberti. The first twenty-five years of his life he worked as a stone cutter or sculptor either for Ghiberti or for the Municipality of Florence in the building of the Duomo. As a young man of twenty he might be seen any day hammering and chiselling at the beautiful white blocks of marble that were brought in flats from Carrara to the city on the Arno. Donatello’s father died when the son was still but a young man and, like Diirer, later, the son took his mother to live with him. He cared for her until she died at the ripe age of eighty-five. This may, perhaps, be the reason why Donatello never married, for at the time of his mother’s death he was forty-five. All the other great artists of this period — Alberti, Leonardo, Michelangelo, Brunelleschi, Luca della Robbia — were married. Donatello was enrolled as a master sculptor in 1406, the year in which he received his first commission from the Operai di S. Maria del Fiore. He executed for them for the gate of the Man- dorla two small statues of “ Prophets.” It is not known who was Donatello’s teacher, but Vasari and Baldinucci both state that Lorenzo di Bicci taught him drawing. More probably, however, his master was Nanni di Banco. So far as we know Donatello re- mained in Florence, living with his mother up to the time of her death. He had, during those years, taken two trips, one to Pisa and the other to Siena. It is stated that he was then in partnership with Michelozzo, with whom he executed the Tomb of John XXIII in the Baptistry, and the Tomb of Rinaldo Brancacci in Naples. Most of his work, however, was for the city of Florence, on the Duomo and Or S. Michele. Vasari records that Cosimo de’ Medici had a great love for the genius of Donatello and gave him work con- stantly. This admiration seems to have been mutual, for Vasari says that “ Donato had so much love for Cosimo, that at each least sign he devised all that he desired, and continually obeyed him.” In 1432, Donatello, accompanied by his friend, Brunelleschi, went to Rome. Vasari states that this visit had reference to the Tomb of Pope Martin V for the Church of St. John Lateran. It is more probable that he left Florence because of the banishment of his patron, Cosimo de’ Medici. He was forty-six when he came to Rome, ten years older than Goethe when he visited the Eternal City. At that time Rome had not yet recovered from the consequences of the 7 papal flight to Avignon. Its palaces were in ruins, the Lateran was without a tenant, and many of the churches were quite neglected. Donatello busied himself digging for remains of antiquity. He was also given work by Pope Eugenius IV on the decorations for the coronation of the Emperor Sigismondo, and he executed the sepul- chral slab of Giovanni Crivelli in the Ara Coeli and the “ Tabernacle of the Sacrament ” now in St. Peter’s. He remained in Rome for about a year and then returned to Florence. Here he continued to labor on various commissions for ten years. The Operai of Florence had need of him. He occupied himself with several different kinds of work at the same time — the reliefs for the Duomo, reliefs for the Prato Pulpit and the Cantoria, bronze doors for the Sacristy, a stained glass window for the Cupola of the Church of St. Maria del Fiore, and a commission for the Cantoria of the same church. In his sixtieth year he went to Padua to superintend the res- toration of the Church of St. Antonio, and in Padua he worked for a full ten years. The work he did there is, perhaps, among the most important of his achievements. It brought him, later, the com- mission for the equestrian statue of Gattamelata, the first bronze equestrian statue made in Italy since the period of early Roman days. Donatello’s Paduan labors had a great influence on the art of Northern Italy. “ The stimulus which Donatello imparted,” writes Kristeiler, “ both as teacher and through his work, to the develop- ment of the art of Northern Italy, was absolutely epoch making.” Donatello returned to Florence in his seventieth year, taking up fresh work given him with the fire of youthful ardor. During the last years of his life he became lame and was confined to bed. He died on the 13th of December, 1466, two years after the death of his patron, Cosimo de’ Medici. In the crypt of the Church of St. Lorenzo, the church for which he had done so much, a coffin was placed to his memory near to that of Cosimo’s. In addition to his work in Pisa, Siena, Rome and Padua, Dona- tello worked for Mantua, Verona, Ferrara, and Naples; but not all of these works have been identified. It was to Florence, and Flor- ence chiefly, that he devoted his genius with unbounded enthusiasm. Florence, at that time, had become the centre of Italian life. The Duomo which raised itself gently and beautifully to the sky was the shrine of all patriots, and only in its shadow did Donatello feel him- self completely happy. “ Away from the Duomo,” says the Floren- tine proverb, “ is misery.” In addition to the city fathers and Cosimo de’ Medici, the Martelli, the Pazzi and the Orlandini loaded him with orders in eager desire for his work. His help was sought by the heads of various churches in the neighborhood. For the Duomo Donatello labored for forty years, and for St. Lorenzo, the Church of the Medicis, he was given an absolutely free hand. The earliest work of Donatello of which we have knowledge dates back to his twentieth year, the date of the completion of his apprenticeship. He could not have been one of the competitors for the bronze doors of St. Giovanni, in 1401, for he was then but a boy of fifteen, although, as has been said, Vasari states that he learned the art of casting in bronze from Ghiberti. Nanni di Banco was more probably his master, since the north door of the Duomo which Di Banco completed, namely, the Porta della Mandorla, con- tains two small “ Prophets,” done in 1405, which are definitely ac- cepted now as the first work of Donatello. The left figure, with its flowing mantle and uncertain hands, is quite Gothic. The model for these “ Prophets ” was, evidently, the same as that for the marble “ David ” of the Bargello, which charms by its beautiful dark yellow patina, due to the fact that the marble, before it was polished, was coated with wax in order to do away with the chalky whiteness of the stone. This figure, originally intended for the Duomo, was placed in the Council Chamber. Following the “David” came Donatello’s first seated figure, larger than life size, that of John the Evangelist, which was intended as a companion statue to three other Evangelists which were to be placed over the principal doorway of the Duomo. These four gigantic figures were lost in the dark aisles of the Duomo. In Donatello’s day they were placed in the Tabernacle. The “ Evan- gelist ” is the first expression of Donatello’s energy in realizing the male form. It is the father of Michelangelo’s “ Moses.” Miss Maud Crutwell, in her excellent monograph on Donatello, writes of this “ Evangelist ” as being one of the grandest and most monu- mental of Donatello’s work. “ It has been justly likened,” she says, “ to a statue of Jupiter Tonans for its menacing, yet serenely majestic, pose and expression.” In 1 41 1 Donatello received commissions for other niche figures. The municipality of Florence desired to decorate their City Hall, the Or S. Michele, with the thirteen apostles of their Guild. The Or S. Michele, which originally was the corn market of Florence* became, after it was rebuilt in 1337, the Church of the merchants of the city. All the Guilds of Florence contributed to its reconstruction, 9 and to each Guild was given its Tabernacle on which it was to expend its money. The work was long delayed, but on a threat from the Signoria, that if the work were not proceeded with the Guild would lose its Tabernacle, the Guilds quickly gave their com- missions to the various artists of the day. Donatello was one of those chosen and Nanni di Banco was another. Di Banco’s statue was erected in 1408. It was a St. Peter and was made for the Guild of Butchers, whose patron saint St. Peter was. Vasari states that this St. Peter was by Donatello, but modern critics give Di Banco the credit for its execution. Perhaps Donatello received an unfin- ished block to complete as did, later, Michelangelo, his “ David.” But there is no room for speculation about the St. Mark. That is unquestionably the handiwork of Donatello. It was given him to do by the Guild of Flax-weavers. No one but Donatello could have chiseled it. The figure is a remarkably striking one, and looks out on the world as if disturbed in the reading of a book. The head is like that of Poseidon, from the beard of which flow two Delphic figures. When it is remembered that Donatello was only twenty when he executed it, it becomes a matter for astonishing wonder. In 1416 the Guild of the Armorers commissioned Donatello for their statue. He gave them the St. George, a figure the very opposite to that of the St. Mark. What Vasari says of it is faithfully true: “ For the Arte de Corazzai he made a figure of St. George in armor, most life-like, in whose head is seen the beauty of youth, of courage and knightly valor, a vivacity terrible and audacious, and a marvellous gesture as though the spirit stirred within the stone.” It is a commandingly proud figure and proves that the Italian rarely speaks ambiguously in what he has to say in art. In the meantime Donatello was busy on work for the Duomo. The Campanile of Giotto still showed empty niches on its first story, and Donatello was ordered to fill these with figures as well as to replace the existing old Gothic ones. What a joy it must have been to Donatello to work on this most beautiful of Italian towers! The Gothic statues on the north and south sides were allowed to remain, but nine figures were ordered for the east and west fronts. These Donatello worked at separately and with the help of Rosso and Ciuffagni. On the west side are the Job, Jeremiah, and the Baptist by Donatello and the Obadiah by Rosso. On the east are the Abra- ham, Habakkuk, Joshua and Moses, on which Rosso also worked. The work was begun in 1412, with the Joshua, and completed in 1426, with the Jeremiah. 10 The so-called “ Baptist” (1416), the first statue on the left of the west front, arouses doubt as to its name. A baptist should be clothed in an animal’s pelt and bear a staff with a cross. All Dona- tello’s Baptists, and he executed many, are represented with insignia that have relation to their actual life. These are wanting in this particular figure. Perhaps, it should be more properly considered as one of the younger prophets, probably Jonas. The “Joshua” shows few marks of Donatello’s hand; it reminds one rather of Ciuffagni. The “ Habakkuk ” is a distinct advance on the “ Jonas.” The “ Abraham ” is quite a distinguished piece, the only group in the row, and the only heroic figure. Abraham is represented as standing on the top of a hill, in a high wind, about to sacrifice his son Isaac. This subject had been a very popular one ever since the competition, in 1401, for the Baptistry Choir. At that time six masters had attempted it. Among these were Brunelleschi, Ghi- berti and Quercia. They had all treated the subject in relief. When, twenty years later, Donatello put his hand to the same subject he produced a group — the first group from his chisel. There is a sar- cophagus in the Lateran which shows a similar treatment, and it may be that Donatello took this as his model, or bore it in mind. The Isaac in this group is the first child figure by Donatello of which we know. The head of Abraham bears a strong likeness to that of the St. Mark. The wooden “ Crucifix” in the Church of St. Croce has been placed by Vasari among the early works of Donatello, but it belongs to the end of the second decade of the century. It has been made well known by Vasari’s anecdote. The story as told by Vasari is worth repeating. “ For the Church of St. Croce, Donatello carved with extraordinary care a Crucifix of wood, which, when he had finished, thinking to have executed a very rare work, he showed to his great friend, Filippo di Brunellesco, to have his opinion. Fi- lippo, who from Donato’s words expected a much better work, smiled somewhat when he saw it, which Donato seeing, he begged him by the friendship that was between them to tell him his opinion ; where- fore Filippo, who was most generous of heart, replied that to him it seemed that he had put a peasant on the Cross, and not such a body as was that of Jesus Christ, who was most delicate, and in every part the most perfect man that had ever been born. Donato hearing this censure, when he had hoped for praise, replied: ‘If it were as easy to do as to judge, my Christ would appear to thee Christ and not a peasant; therefore take wood and try to carve one also.’ Filippo without more words returned to his house, where, unknown to all, he set to work to carve a Crucifix, and striving to excel Donato, so as not to be condemned by his own judgment, he brought it after many months to the highest perfection. And when it was finished he invited Donato one morning to dine with him, and Donato accepted the invitation; and thus, proceeding together to his house, when they had reached the Mercato Vecchio, Filippo bought some things and gave them to Donato, saying: ‘ Proceed with these things to the house and await me there, and I will follow im- mediately.’ Donato then, when he had entered the house, saw the Crucifix of Filippo in a good light, and pausing to consider it, he found it so perfect that, overcome and completely stupefied, as one beside himself, he opened his hands which held his apron, so that the eggs and cheese and all the other things fell to the ground and were broken. But he did not cease, however, to marvel and to stand as one out of his senses till Filippo, arriving, said laughingly, ‘ What is thy intention, Donato? How shall we dine now thou hast spilt everything? ’ ‘ For my part,’ replied Donato, ‘ I have had my por- tion for this morning; if thou wishest thine, pick it up. But enough! To thee it is given to carve Christs, and to me peasants only.’ ” And yet Donatello did himself a great injustice. The two friends were poles apart in genius and temperament. The Crucifix of Brunelleschi may have appealed to his patrons; but the Crucifix of Donatello remains the sympathetic appeal to the worshippers who came to pray in the Church of St. Croce. Donatello spoke not to the rich, but to the common people, the people from whom he had himself sprung, and his language went direct to the heart. In 1418 the Guelph Party commissioned its Tabernacle and statue for Or S. Michele, and to Donatello was given the order for the Party’s patron saint, St. Louis, to be done in bronze. It was to be placed in a high niche in the centre over the front of the build- ing. The St. Louis he finished is, perhaps, the least impressive of Donatello’s works. Unfortunately, it was placed too high to be seen to advantage. Moreover, Donatello’s casting in bronze does not compare well with the work of the Sienese or Venetian casters. He had not understood that bronze demands compression. Later, the St. Louis was removed and Verrocchio’s famous “ Christ and Thomas ” was erected in its stead. In 1419 Pope John XXIII died in Florence. Baldassare Cossa had been deposed by the Council of Constance for his licentious life, and imprisoned. He was liberated some years later on his submis- 1 2 sion to Pope Martin V, who created him Cardinal-Bishop of Tuscu- lum, and found an asylum with the Medicis, who kept him until his death. Cosimo de’ Medici, after much wrangling with the authori- ties, caused a tomb to be built over his grave in the much revered Church of the Baptistry. Donatello was given the commission for the tomb’s Chapel, and he worked on it in conjunction with Mi- chelozzo. Donatello, in his design, followed tradition. Two pillars support the flying architraves above each of the interior walls, and between two of these pillars the sepulchre is placed, fixing the sar- cophagus high enough, on brackets, in order not to choke the ground space. Above the sarcophagus and placed directly on it, but car- ried on a stretcher by two lions, is the figure of the dead Pope. Donatello made an innovation by casting this figure in bronze, and he clothed it, not in the papal vestments, but in those of the bishop. The sepulchre was not completed until 1428 or 1429. In the meantime Donatello had received his first commis- sion from outside Florence. The people of Siena had, in 1417, or- dered two bronze reliefs for the baptismal font of their Baptistry from Ghiberti; they now approached Donatello with the request for a relief in keeping with Ghiberti’s design to be executed in bronze. Siena’s great architect, Jacopo della Quercia, had been called to Bologna, and the Sienese delayed not a moment in obtain- ing the service of Donatello. Donatello must have undertaken the work with unusual zest, since it set him a fresh problem. Up to this date, the only relief he had done was the stone pedestal for the St. George; now he was to attempt one in bronze. The subject demanded was the Dance of Salome with the head of John the Baptist. The model for this sub- ject every Florentine could see for himself in the famous fresco by Giotto in Santa Croce. But the fresco pictured in several scenes what Donatello was compelled to include in the four sides of one relief. How he accomplished his task may be seen on plates 28, 29, and 30, of this volume, in which are reproduced the four Putti and the two statuettes of Hope and Faith, which were also a part of the commission. To the twenties of the century also belongs the first of Dona- tello’s Madonnas. Up to now these home altarpieces had been exe- cuted in paint on canvas or wood, and they always were made to represent the motherly joy and the motherly sorrow of the Virgin. In Donatello’s Madonnas, however, the note is heroic, and impres- sive of strength. His Virgin is not a housewife; she is made a means 1 3 for the expression of beauty and fate. Berlin is fortunate in pos- sessing the masterpiece of these early Madonnas, the Madonna di Casa Puzzi, a beautiful execution in sharp profile. The many repro- ductions made of this Madonna testify to the endearment in which this relief must have been held. On one occasion Donatello grouped a Madonna with angels and saints, reminiscent of Masaccio’s altarpiece. Of this two ovals in stucco exist, one in London and the other in Dr. Neisbach’s house in Berlin. Another work which properly belongs to the period prior to Donatello’s journey to Rome is the bronze “ David,” a figure for a fountain, which now stands in the Bargello, but which once crowned a fountain in the Medici palace. This is the first bronze fountain of the Renaissance. About 1436 Donatello’s mother died in her eighty-fifth year. Her son had faithfully tended her and seldom left her alone. Her death, therefore, set him free, and, in the company of his friend, Brunelleschi, he went to Rome. What impelled him to undertake this journey is not known. It may be that he had hopes of a com- mission for the sepulchre of Pope Martin V, who had just died. But his hopes in this direction were not realized. The new Pope, Eugenius IV, was a Venetian who maintained his position with difficulty against the Colonna, the family of the dead Pope. Mat- ters came to a crisis, in 1434, in a revolution, and Eugenius was compelled to fly to Florence, where he lived in the Monastery of St. Maria Novella. It was only until nine years had passed that he was able safely to return to Rome. Donatello remained in Rome between August, 1432, and May, 1433. Foreign artists were not persona; grata to the Romans, and were often roughly handled. Masaccio disappeared in a Roman street; the death of Gentile de Fabriano, while at work on the Lateran frescoes, had not been cleared up ; and the son of Signorelli had been cruelly beaten. This will give some idea of how the Romans dealt with Etruscan visitors from Florence. Michelangelo wrote of the “ molte belle cose,” and in 1432 things were even worse. We find Donatello at work, during this visit, on the Lateran, when he completed the monumental slab of Pope Martin V, which had been cast by Simone Ghini. More likely Donatello modeled it, since we know of Simone Ghini later as only an assistant to Filarete when that artist was working on the bronze doors of St. Peter’s. A second piece by Donatello is found in the Vatican. It is the Tabernacle for the Consecrated H Host, mentioned by Vasari and ordered for one of the Chapels in the old Church of St. Peter. The Tabernacle to-day houses a painting of the Madonna. In the summer of 1437 Donatello was again in Florence. He now undertook three important commissions — a pulpit for the Duomo; a Tabernacle with an Annunciation, for the Cavalcanti, in St. Croce; and an open-air pulpit for the Duomo in the Prato. The beautiful stone Tabernacle for S. Croce was long thought to be one of Donatello’s early works; but the character of the architecture and the unusual execution of the figures point to a later date. It is the beginning of Donatello’s exaggeration of speech in the language of sculpture. In the meantime the authorities of the Duomo had se- cured the services of Florence’s masters in art for their purposes. The building of the cupola had proceeded so far that it was possible to lay out the scheme for the interior monuments. The most impor- tant of these was the high altar with its sepulchre to contain the bones of St. Zenobius. Ghiberti had placed it in position in 1432, and now choirs were demanded over the two doors of the Sac- risty. As then planned the cupola was to be inlaid in gold mosaic. Directly inside it two white marble pulpits were to protrude, beneath which the two dark bronze doors of the Sacristy came to rest. The so-called New Sacristy choir was given to Luca della Robbia in 1431, and finished by him in 1438. Donatello was commissioned to execute the Old Sacristy choir in 1433 and it was completed by him in 1439. Unfortunately, little remains to-day of these original works. Both Cantoria were practically destroyed for the purpose of accom- modating an orchestra at the time of the celebration of the mar- riage, in 1688, of Ferdinando de Medici, with the Princess Violante of Bavaria. The exterior pulpit, however, of the Prato was governed by quite other conditions. The church possessed, as its most valuable relic, the Girdle of the Virgin Mary, which, so tradition ran, she had given to Thomas as a reward for his repentance. The relic had come, in a roundabout way, into the possession of one of the burghers of the Prato, who had to fight nightly with the devil to retain it. On the death of this burgher he left the precious treasure to the cathedral, and since that time it had become the custom to exhibit the Girdle to the people on the 23th of March of each year. As Aachen had its Bridge of Relics, so, likewise, the people of the Prato desired to have a small Loggia as an exhibition place for its relic. The spot selected for this purpose was the Square in which U stood the Duomo, where it could best be viewed. The Bishop ap- peared from the right through a small door, stepped slowly across the pulpit, displayed the Girdle, and then disappeared through an- other door on the left, the kneeling multitude the while bowing in silent reverence, and not daring to raise their eyes to the sacred object. Donatello built his pulpit in a corner of the Duomo, cutting through a thick pillar which supported a low heavy roof. In its seven panels he sculptured thirty-five boys dancing in honor of this festival of Spring. The bronze capital of the pilaster is, per- haps, the most Roman in style of anything Donatello has done. To the period of ten years between Donatello’s return from Rome and his journey to Padua belongs his great work for the Duomo of Florence and the decorations for the Sacristv of S. J Lorenzo. For the Duomo, Donatello divided the work with Luca della Robbia. For the S. Lorenzo, which was begun by Brunel- leschi in 1421, Donatello furnished eight Totidi, picturing four Evangelists and four scenes from the life of St. John the Evangelist. The Evangelists are shown as seated on thrones of stone, each stone being separate and all the seats being in the style of the Roman bishops. The entire series consist of Matthew, Mark, Luke, and John; St. John at Patmos, the Resurrection of Drusiana, the Mar- tyrdom of St. John, and the Assumption of St. John. If these eight reliefs date prior to 1440, then the bronze doors which separate the large Sacristy from the two wings undoubtedly belong to the time previous to Donatello’s departure for Padua. There was much discussion at the time about the material in which these reliefs were to be executed. It was thought that wood would be the most desirable medium, but bronze was finally decided upon. The choice of material was not a happy one, because bronze affects the eye as heavy, and the position in which the doors are placed deepens this impression, and does not afford the soft light necessary for seeing this kind of work to the best advantage. Ghiberti’s aston- ishing achievements gave Donatello and Cosimo de’ Medici no rest. Rome and Siena had given their orders for bronze doors and the Duomo of Florence had received its Sacristy portals from this tireless worker. The Church of the Medicis, therefore, must not be behind- hand. The two portals for S. Lorenzo were ordered and delivered. The division into ten compartments is the same as that of Ghiberti’s second door opening on to the street; but the framework is much more distinguished. All the twenty compartments are entirely de- 16 voted to illustrating the one theme of the Disputation. We look in vain for any superscriptions which would explain the various themes, but the work is magnificently enriched with the play of its figures and with decorations of palms and books. Above the portals stand the large-size figures of the patron saints of the Medicis — St. Law- rence, St. Stephen, St. Cosimo, and St. Damiano. When Donatello received the call from Padua he was fifty- seven years of age. He remained in Padua ten years. Vasari states that he was brought to that city to execute the equestrian statue of Gattamelata, but the discovery of a series of documents in 1895 proves conclusively that he was sent for to restore the Church of S. Antonio. Donatello took with him but one assistant; but he re- ceived so many commissions while in Padua that he was compelled to gather around him a large number of helpers. In addition to this equestrian statue of Gattamelata ordered by the Narni family, the chapter of the Santo commissioned him to finish a new high altar with numerous statues and reliefs; the Princes of the Poe Val- ley — Gonzaga of Mantua, Este of Ferrara — begged for his art; and even Venice thought him of sufficient importance as a master to give him work. When, in 1454, he left Padua, the city was enriched with a magnificent statue before its Duomo, a splendid high altar with seven life-size bronze figures and twenty-two bronze reliefs beneath the red-white marble pillars of the Choir. It can be quite understood, then, why it was that the Paduans held this man in the highest esteem. He left the city followed by deep regrets of the citi- zens. Donatello, however, could never remain very long away from his beloved Florence. He longed to be back to the Cupola. More- over, the climate of Padua did not agree with him, and Cosimo de’ Medici had sent word that he wanted him to give the finishing touches to S. Lorenzo, which was now nearing its completion. Although in his sixty-eighth year, Donatello still retained much of his youthful vigor and energy. He returned to Florence a poor man. Donatello was no money-grubber. His coffers were always open and his money-bag hung from the ceiling of his studio for any friend to dip into who might be in need. We even hear from Vesparano Bisticci of actual want. It may be that the most impelling motive of Donatello’s return was his desire for the companionship of his dear old friend, Brunelleschi, with whom he often consulted and for whom he had a very profound admiration and affection. During Donatello’s absence from Florence many things had been done in that city; so that when he returned he found great changes. Ghiberti *7 had uncovered his golden tower of the Baptistry; Michelozzo had built a great country place in the Via Larga for the Medici; the be- loved Church of S. Lorenzo was nearly finished; the Puzzi Chapel was almost ready, and Donatello could not but admit to himself that Luca della Robbia’s Evangelist made a finer impression than his own in the Sacristy of S. Lorenzo; and the beautiful Tabernacle had been perfected with the Annunciation of Pagno di Lapo Portigiani. What must have been Donatello’s feelings as he contemplated all these achievements? Was it possible that he, an old man of nearly seventy, could hope to rival the work so splendidly manifesting itself in the clear atmosphere of Florence? But such thoughts could not have disturbed Donatello for long. His was the nature to do and not to regret nor to waste himself in idle contemplation. To the later years of his life belong his Judith, which remains to-day, with Cellini’s Perseus, the very symbol of Quattrocento art; the four com- missions he did for Siena; and finally the four statues of saints in stucco for the Church of S. Lorenzo. The Judith group Donatello cast as a fountain piece for the Court of the Medici palace built by Michelozzo. The bronze reliefs for the two pulpits in the nave of S. Lorenzo were the last works on which Donatello was engaged. Bellano and Bartoldo worked with him on these and carried his sketches to completion and realization. The South Pulpit bears Donatello’s signature. Donatello died on the 13th of December, 1466, two years after the death of his great patron, Cosimo de’ Medici. Donatello is per- haps the most splendid example of Florentine Quattrocento art. His name must be inscribed along with the names of Brunelleschi and Leonardo. No artist of his time attained to the heights of the crea- tions, which are the fruits of his plastic genius. In our estimation, he is the most important figure in that pioneer age of art, which pre- ceded the great days of Lorenzo the Magnificent. 18 DONATELLO ABBREVIATIONS AND EXPLANATIONS H. = Height B. = Width Auk HoLz = on wood Auf Leinw/\nd = oii canvas Auf Schiefer = oh slate The figures giving the sizes of the paintings stand for metres *Florenz, Dom (Porta della Mandorla) Propheten-Statuetten Statuettes of prophets 1406—1408 Marmor Statues de prophetes Donatello 1 1 Florenz, Mu .eo Nazionale David 1410-1412 Marmor '■■•A-: ■ . • . •>. - Florenz, Dom Marmor St. Johannes der Evangelist St.John the Evangelist 1412-1415 Saint Jean l’Evangeliste Florenz, Or San Michele Marmor St. Markus St. Mark 1412 Saint Marc *Florenz, Or San Michele St. Mark St. Markus 1412 M arm or Saint Marc 5 •Florenz, Or San Michele Marmor Nanni di Banco: St. Petrus St. Peter Um 1415 Saint Pierre 6 Florenz, Or San Michele St. Georg 1416 Bronze (Kopie) St. George Saint George Florenz, Or San Michele St. Georg Bronze (Kopie) St. George 1416 Saint George 8 Florenz, Museo Nazionale St. George Marmor (Original) St. Georg 1416 Saint George 9 Florenz, Museo Nazionale St. Georg 1416 Marmor St. George Saint George Florenz, Museo Nazlonale Marmor St. Georg St. George 1416 Saint George 11 12 Florenz, Or San Michele Marmor Oben: Sockel am Fu6 des Tabernakels mit Andrea del Verrocchios Gruppe „Christus und Thomas" (vgl. S. 21) 1423 Unten: St. Georg bekampft den Drachen, vom Tabernakel des „St. Georg" (vgl. S. 7) 1416 Above: Pedestal of the tabernacle of „Cluist and Thomas" En haut: Socle du tabernacle de „Le Christ et Saint Thomas" Below: St. George and the dragon (tabernacle of „St. George") En bas : Saint George et le dragon (tabernacle de Saint George) *FIorenz, Campanile *Florenz, Dom Marmor Josua Joshua 1412 Josue Sogen. Poggio Bracciolini The so-called 1415—1420 Statue nominee Poggio Bracciolini ’ Poggio Bracciolini 13 • to CQ • CO _ -T- 14 *Florenz, Campanile Hiob. Sogen. Zuccone Job 1423-1426 Job (the so-called Zuccone) (nomme Zuccone) Marmor Jeremias Jeremiah 1425 Jeremie 15 *Florenz, Campanil ; Abraham und Isaak Marmor Abraham and Isaac 1421 Abraham et Isaac 16 *Florenz, Piazza della Slgnoria Bronze (Replik), Sockel Sandsteln Sitzender Lowe (Marzocco) Sitting lion (Marzocco) on its 1418—1421 Lion assis (nomme Marzocco) ancient pedestal sur l'ancien piedestal onatello 2 17 '‘Florenz, Museo Nazionale Sandstein Sitzender Lowe (Marzocco) Sitting lion (the so-called Marzocco) 1418—1421 Lion assis (nomme Marzocco) *■ Florenz, Museo Nazionale Sandstein Sitzender Lowe (Marzocco) Sitting lion (the so-called Marzocco) 1418—1421 Lion assis (nomme Marzocco) 19 Florenz, S. Croce Christ cn the cross Christus am Kreuz Urn 1420 Le Christ en croi: 20 *Florenz, Or San Michele Bronze und Marmor Christus und Thomas Das Tabernakel von Donatello und Michelozzo, die Gruppe von Andrea del Verrocchio 1423 1476—1483 Christ and St. Thomas Le Christ et Saint Thomas The tabernacle by Donatello and Michelozzo, Le tabernacle par Donatello et Michelozzo, the group by Andrea del Verrocchio le groupe par Andrea del Verrocchio 21 Florenz, Or San Michele Marmor Vom Sockel des Markus-Tabernakels (vgl. S. 4) From the socle of St. Mark's statue 1412 Du socle de la statue de Saint Marc ♦Florenz, Or San Michele Marmor Giebelfeld vom Tabernakel der Gruppe „Christus und Thomas“ Tympanum of the tabernacle of „Christ and St. Thomas" 1423 Tympan du tabernacle Le Christ et Saint Thomas 22 Florenz, S. Croce St. Ludwig Bronze St. Louis Vollendet 1423 Saint Louis *Florenz, Baptisterlum Marmor und Bronze Grabmal des Papstes Johann XXIII. 1425-1427 Sepulchre of Pope John XXIII Monument funerahe du Pape Jean XXIII f. . u V "At 4 W1)WV\ X^lliOBUTf I QKtf n» NO0N1( KXXOXVIfllX I KAltt'CW-JAl (VAPH S7 24 25 * Florenz, Baptisterium Bronze und Marmor Detail vom Grabmal des Papstes Johann XXIII. Detail of the sepulchre of Pope John XXIII 1425- 1427 Detail du monument funeraire du Pape Jean XXIII 26 < 1 > * 0 J s > i— u 3 U o> C3 c g-,2 03 03 rn > cv rT U O w ^ o z cx £} 03 o — > C/3 •— « u E S cx 03 CQ C c 03 > o O 5-, ^ § £ Oh •e I QQ 3 O o O 27 * Siena, S. Giovanni (Taufbrunnen) Solome’s dance Bronze Der Tanz der Salome 1425 La danse de Salome 28 29 Berlin, Kalser-Frledrlch-Museum Bronze *Slena, S. Giovanni Bronze *Slena, S. Giovanni Bronze Putten vom Taufbrunnen in Siena Putti from the baptismal fountain in Siena 1428 Putti des fonts baptismaux e Sienne Siena, S. Giovanni (Taufbrunnen) Bronze Kuppel des Taufbrunnens Cupola of the baptismal fountain 1428 Coupole des fonts baptismaux Faith Glaube Foi Hope Hoffnung Esperance * London, Herzog von Westminster Amor Bronze Cupid Um 1430 Cupidon 32 * London, Victoria und Albert-Museum Bronze * Florenz, Museo Nazionale Bronze Putto-Fontaine Cupid Amor-Atys Cupidon Um 1430 Um 1430 Donatello 3 33 * Berlin, Kalser-Frledrich-Museum Marmor Die GeiBelung Christi Christ's flagellation Um 1425 La flagellation du Christ F!orenz, Musto Nazionale Bronze David Um 1430 34 Florenz, Museo Nazionale David’s head Der Kopf des David La tete de David 35 * Florenz, Museo Nazionale Bronze Biiste eines Junglings Um 1430 Buste d'un jeune homrae Bust of a youth *Florenz, Museo Nazlonale St. John the Baptist Marmor Marmor Florenz, Casa Martelli St. Johannes der Tauter Um 1430 Saint Jean Baptiste 37 ♦Berlin, Kaiser-Friedrlch-Museum Bronze *Florenz, Casa Marfelli Marmor David - Statuette Um 1430 David Um 1430 38 * Florenz, Museo Nazionale Sant St. Johannes der Tauter als Knabe St. John the Baptist Um 143Q Saint Jean Baptiste when a child jeune 40 Neapel, S. Angelo a Nilo Marmor Himmelfahrt Maria. Vom Grabmal des Kardinals Rinaldo Brancacci The assumption of the Virgin 142? L’assomption de la Vierge Relief from the monument of cardinal Rinaldo Brancacci ~ Relief du lombeau funeraire du cardinal Rinaldo Brancacci 41 Florenz, S. Lorenzo (Alte Sakristei) Marmor Sarkophag des Giovanni dei Medici Sarcophagus of Giovanni dei Medici Um 1430 Sarcophage de Giovanni dei Medici *Florenz, Museo Nazlonale Ton, bemalt Niccolo da Uzzano 1432 42 Niccolo da Uzzano 1432 Ton, bemalt *FIorenz, Museo Nazlonale 43 Rom, St. Peter Sakraments-Tabernakel Tabernacle for the consecrated host 1433 Marmor Tabernacle du sacrement 44 ij *Rom, S. Giovanni in Laterano Bronze Grabplatte des Papstes Martin V. Gegossen von Simone Ghini Monumental slab J433 Plaque tuniulaire of Pope Martin V du Pape Martin V 46 London, Victoria und Albert-Museum Marmor Die Verkiindigung Um 1435 Sandsteln L’Annoncialion The annunciation Florenz, S. Croce 47 Florenz, S. Croce Die Verkiindigung (Detail von S. 47) The Annunciation Um 1435 (Detail of p. 47) Sandstein L'Annonciation (Detail de p. 47) 48 Florenz, S. Croce . Sandstein Putten vom Tabernakel der Verkundigung Um 1435 Putti from the tabernacle of the Annunciation Putti du tabernacle de l’Annonciation Donatello 4 49 50 ♦Florenz, Museo dell l’Opera Marmor Sangertribiine des Doms The singers' tribune. Formerly in the cathedral 1433—1440 Tribune des chanteurs. Autrefois dans la cathedrale Florenz, Museo dell’ Opera Details von der Sangertribiine des Doms 1433-1438 Details of the singers’ tribune (p. 50) Details de la tribune des chanteurs (p. 50) 51 Florenz, Museo dell’Opera Marmor Details von der Sangertribiine des Doms 1433—1438 Details of the singers’ tribune (p. 50) Details de la tribune des chanteurs (p. 50) 52 Florenz, Museo dell’Opera Marmor Details von der Sangertribiine des Doms 1433-1438 Details of the singers’ tribune (p. 50) Details de la tribune des chanteurs (p. 50) Florenz, Museo dell’Opera Marmor Detail von der Sangertribiine des Dorns Detail of the singers’ tribune (p. 50) 1433-1438 Detail de la tribune des chanteurs (p. 50) to/) c p < co ^3 QJ T3 T3 g O g JC o ^ 55 Prato, Dom Sandsteln, Marmor und Bronze AuBenkanzel Pulpit at the outside of the church 1434—1438 Chaire en dehors de la cathedrale 56 57 Tanzende Putten. Erstes Detail von der Briistung der Aufienkanzel Dancing putti. On the pulpit ] 434 — 1438 Anges dansant. De la chaire 58 Tanzende Putten. Zweites Detail von der Briistung der Aufienkanzel Dancing putti. On the pulpit 1434—1438 Anges dansant. De la chaire 59 Tanzende Putten. Urittes Detail von der Briistung der Aufienkanzel Dancing putti. On the pulpit 1434—1438 Anges dansant. De la chaire Prato, Doni Marmor Tanzende Putten. Reliefs an der Brustung der AuBenkanzel Dancing pulti. On the pulpit 1434-1438 Anges dansant. De la chaire 60 Prato, Dom Marmor Tanzende Putten. Reliefs an der Briistung der Aufienkanzel Dancing putli. Or. the pulpit 1434—1438 Anges dansant. De la chaire Praio, Dorn Tanzende Putten. Dancing Putti. On the pulpit Marmor Reliefs an der Brtistung der AuBenkanzel 1434—1438 Anges dansant. De la chaire Prato, Doui Tanzende Putten. Dancing putti. On the pulpit Marmor Relief an der Briistung der Aufienkanzel 1434—1438 Anges dansant. De la chaire Prato, Dom Capital of the pilaster. Bronze Kapital an der Aufienkanzel On the pulpit 1433 Chapiteau du pilastre. De la chaire 63 64 Die Schliisseltibergabe an Petrus St. Peter receiving the key Um 1438 Saint Pierre recevant la clef * London, Victor! a und Albert-Museum So-called bust of St. Cecilia Sogen. heilige Cacilie Um 1440 Buste d'une femme nommee Sainte Cecile Donatello 5 65 *Florenz, S. Lorenzo (Alte Sakristei) St. Lorenz Ton St. Laurence Um 1440 Saint Laurent 66 * Berlin, Kaiser-Frledrich-Museum St. John the Baptist St. Johannes der Tauter Um 1440 Stucco, bemalt Saint Jean Baptiste ] 67 * Florenz, Museo Nazionale The so-called bust of Antonio dei Narni Sogen. Antonio dei Narni Um 1440 Bronze Buste d'un homme nomme Antonio dei Narni 68 69 70 Florenz, S. Lorenzo (Alte Sakristei) 71 72 Florenz, S. Lorenzo (Alte Sakrlstei) Ton Johannes auf Patmos Die Erweckung der Drusiana St. John at Patmos Um 1440 Saint Jean a Patmos The resurrection of Drusiana Urn 1440 La resurrection de Drusiane 73 Florenz, S. Lorenzo (Alte Sakristei) Ton Das Ol-Martyrium des Johannes Die Himmelfahrt des Johannes The martyrdom of St. John Um 1440 Le martyre de Saint Jean The assumption of St. John Um 1440 L'assomption de Saint Jean Florenz, S. Lorenzo (Alte Sakristei) B Linke Tiire zur Sakristei Door of the sacristy Um 1440 Porte de la sacristie 74 Florenz, S. Lorenzo (Alte Sakrlstel) Rechte Tur zur Sakristei Door of the sakristy Urn 1440 Porte de la sacristie 75 Florenz, S. Lorenzo Details of the door p. 74 Bronze Details der Tiir auf S. 74 Um 1440 Details de la porte p. 74 76 Florenz, S. Lorenzo Bronze Details der Ttir auf S. 74 Details of the door p. 74 Um 1440 Details de la porte p. 74 77 m m T 0 '** 4 lb'-* : D Florenz, S. Lorenzo Bronze Details der Tiir auf S.74 Details of the door p. 74 Um 1440 Details de la porte p. 74 Florenz, S. Lorenzo Bronze Details der Ttir auf S. 74 Details of the door p. 74 Um 1440 Details de la porte p. 74 79 Florenz, S. Lorenzo Bronze Details der Tiir auf S. 74 Details of the door p. 74 Um 1440 Details de la porte p. 74 Donatello 6 81 Florenz, S. Lorenzo (Alte Sakristei) Ton S. Lorenzo und S. Stefano S. Cosma und S. Damiano St. Laurence and St. Stephen Um 1440 Saint Laurent et Saint Etienne St. Cosmus and St. Damianus Um 1440 Saint Cosme et Saint Damien ♦London, Victoria und Albert-Museum Stuck, bemalt Thronende Madonna mit Engeln und Heiligen The Virgin enthroned, with „ „ . La Vierge sur le trone entouree & (I. uruppe) J angels and saints par des anges et des saints 82 * Berlin, Kaiser-Friedrich-Museum Marmor Madonna di Casa Pazzi The Virgin with Child (I. Gruppe) La Vierge et l’Enfant 83 ♦London, Victoria und Albert-Museum The Virgin with Child Madonna mit der Rose (I. Gruppe) Marmor La Vierge et l’Enfant 84 85 ♦Berlin, Kaiser-Friedrich-Museum Gebrannter Ton * Berlin, Kaiser-Friedrich-Museum Casta pesta Madonna mit der gotischen Leiste Madonna mit der Rose The Virgin with Child (II. Qruppe) LaVierge et l’Enfant The Virgin with Child (I. Gruppe) La Vierge et TEnfant * Boston, Quincy A. Shaw Marmor Maria in Wolken The Virgin in the clouds (I. Gruppe) La Vierge dans les nuages 86 87 Berlin, Kalser-Frledrich-Museum Pfelfenton Florenz, Prlvatbesitz Ton Madonna, das Kind hochhaltend Madonna, das Kind hochhaltend The Virgin with Child (II. Gruppe) La Vierge et l’Enfant The Virgin with Child (II. Gruppe) La Vierge et TEnfant ♦Paris, Louvre Ton The Virgin adoring Christ Madonna, das Kind anbetend (II. Gruppe) L’Enfant adore par la Vierge ♦London, Victoria und Albert-Museum The Virgin adoring Christ Madonna mit dem Stuhl (II. Gruppe) L’Enfant adore par la Vierge 89 * Paris, Louvre The Virgin with Child Ton, bemalt Madonna mit dem Kinde (II. Gruppe) La Vierge et l’Enfant 90 A FRANCESCO LOMBARD?! • NATO .U'i LUCCa tt XNOVEM»8.^ OR.EF JCJ R C.lOtELUERR PEfclTtSAJMQ | Ot ^NTlCtU.^CETT} W 8EU.E ART | \ R ACCCxjLrroRE m&Xc® zt cants : CHE mmvt ODNAVA A v^ESFA CUBES* it. PfcESENTE MONUM6NTO CU ERfcDl KL4gfc£ ^JjfA.MRMOftiA NKMtf »< FlRfiWZfc ife ^ * Florenz, S. Croce Sepulchre of Lombardi Marmor Grabmal Lombardi (II. Gruppe Monument funeraire der Madonnen) de Lombardi Florenz, Prlvatbesltz Stucco Madonna mit dem Kinde The Virgin with Child (II. Gruppe) La Vierge et l’F.nfant * Paris, Louvre Bronze Madonna mit Kind und Engeln The Virgin with Child and angels (II. Gruppe) La Vierge, l’Enfant et des anges 93 *Koln, Sammlung Schniitgen Berlin, Kaiser-Friedrich-Museum Silber- Plakette (I. Madonnen-Gruppe) Blei-Plakelte (I. Madonnen-Gruppe) Berlin, Kaiser-Friedrich-Museum Putten-Relief Plaketts Plaketten Um 1440 Plaquettes Berlin, Kaiser-Friedrich-Museum Kandelaber-Madonna Berlin, Kaiser-Friedrich-Museum Madonna in der Apsis Berlin, Kaiser-Friedrich-Museum Geiflelung Christi Plaketts Plaketten TJ in 1440 Plaquettes *Padua, St. Antonio Der Hochaltar, von vorn gesehen, in neuer Aufstellung The high altar, in the front Le maitre-autel, vu de face 96 * Padua, S. Antonio Bronze Christus am Kreuz Christ on the cross 1443—1445 Le Christ en croix Donatello 7 97 * Padua, S. Antonio Christus am Kreuz. Detail von S. 97 Christ on the cross 1443—1445 (Detail of p. 97) Bronze Le Christ en croix (Detail de p. 97) 98 Padua, S. Antonio Bronze Madonna mit dem Kinde The Virgin with Child 1445—1448 La Vierge et TEnfant 100 ♦Padua, S. Antonio Bronze St. Ludwig Daniel St. Franziskus St. Louis Saint Louis Daniel 1445—1450 Daniel St. Francis Saint Francois 101 * Padua, S. Antonio Bronze St. Antonius St. Justina St. Prosdozimus St. Antonius Saint Antoine St. Justina 1445—1450 Sainte Justine St. Prosdozimus Saint Prosdozimus . Ant. Chellino (?) 2. Ant. Chellino (?) 3. Urbano da Cortona 4. Urbano da Cortona 102 Flote Flote Harfe Mandoline Musizierende Engel Angels making music 1446—1450 Anges musiciens Giovanni da Pisa 6. Donatello 7. Donatello 8. Giovanni da Pisa 103 Trommel Sanger Sanger Geige Musizierende Engel Angels making music 1446—1450 Anges musiciens Giovanni da Pisa 10. Francesco Valente (?) 101 Becken Tamburin Diaulcs Diaulos Musizierende Engel Angels making music 1446—1450 Angels musiciens Padua, S. Antonio Bronze Symbol des Evangelisten Matthaus Symbol of St. Mathew the Evangelist 1445—1448 Symbole de Saint Mathieu l'Evangeliste 105 Symbol des Evangelisten Johannes Symbol of St.John the Evangelist M45 — 1448 Symbole de Saint Jean l’Evangeliste * Padua, S. Antonio Bionze 106 Padua, S. Antonio Bron Symbol des Evangelisten Markus Symbol of St. Mark the Evangelist 1445—1448 Symbole de Saint Marc l'Evangeliste 107 Symbol des Evangelisten Lukas Symbol of St. Luke the Evangelist 1445—1448 Symbole de Saint Luc l’Evangeliste Bronze Padua, S. Antonio 108 109 Der redende Saugling The infant s confession 1445 — 1448 La confession du nouveau-ne 110 Das Esel-Wunder in Rimini The miracle of the ass at Rimini 1445—1448 Le miracle de l’ane a Rimini Ill Padua, S. Antonio Bronze Das Herz des Geizigen The miser’s heart 1445—1448 Le coeur de l'avare 112 Padua, S. Antonio Bronze Pi eta The mourning over Christ 1445—1448 Le Christ pleure Donatello 8 113 *Padua, S. Antonio The raisen Christ Bronze Sportello 1445—1448 Le Christ ressuscite 114 115 Padua, S. Antonio Stein auf farbigem Grund Die Grablegung Christi The sepulture of Christ 1445—1448 La sepulture de Jesus-Christ 03 a. £ a> JZ H 116 Der Hochaltar, von ruckwarts gesehen, in neuer Aufstellung *Padua, Platz vor S. Antonio Bronze Denkmal des Gattamelata Monument of Gattamelata 1446—1447 Monument de Gattamelata 117 ♦Padua, Platz vor S. Antonio Bronze Denkmal des Gattamelata, von Osten aus Monument of Gattamelata 1446—1447 Monument de Gattamelata View taken from the east Vu de I’est 118 * Padua, Platz vor S. Antonio Bronze Denkmal des Gattamelata, von Westen aus Monument of Gattamelata 1446—1447 Monument de Gattamelata View taken from the west Vu de l’ouest 119 * Padua, Platz vor S. Antonio Kopf des Gattamelata Detail of the monument of Gattamelata 1446—1447 Detail du monument de Gattamelata 120 *Padua, Platz vor S. Antonio Bronze Detail of the monument Kopf des Pferdes des Gattamelata of Gattamelata 1446—1447 Detail du monument de Gattamelata 121 Padua, S. Antonio (Kreuzgang) Marm Reliefs vom Sockel des Gattamelata-Denkmals Reliefs from the pedestal ^ 1453 Reliefs du socle of the Gattamelata monument du monument de Gattamelata 122 123 London, Victoria und Albert-Museum Bronze Die Beweinung Christi The lamentation for Christ Um 1450 Le Christ pleure 124 Der Tanz der Salome Solome’s dance Um 1450 La danse de Salome C a> •2 £ 03 2 x> E a Q v P c o £ >>JQ i-c a* 55 co E ^ aj CO 125 126 Paris, Mme. E. Andr£ Bronze Berlin, Kaiser-Friedrlch-Museum Bronze Biisten des Ludovico III. Gonzaga, Markgrafen von Mantua Busts of Ludovico III Gonzaga, margrave of Mantua Um 1451—1453 Bustes de Ludovico III Gonzaga, margrave de Mantoue 127 * Berlin, Kalser-Frledrich-Museum Ton Berlin, Sammlung von Beckerath T Die Veroneser Madonna Die Veroneser Madonna The Virgin with Child (III. Gruppe) La Vierge et TEnfant The Virgin with Child (III. Gruppe) La Vierge et l’Enfant Berlin, Kaiser-Friedrlch-Museum Stucco Die Berliner Madonna The Virgin with Child and angels (111. Gruppe) La Vierge, l’Enfant et des anges 128 ♦Paris, Louvre Madonna von Fontainebleau Bronze The Virgin with Child (III. Gruppe) La Vierge et l’Enfant Donatello 9 129 Florenz, Privatbesitz Stucco, bemalt Madonna mit Kind und Engeln The Virgin with Child and angels (III. Gruppe) La Vierge, l’Enfant et des anges 130 131 ♦Paris, Louvre Stein Paris, Sammlung R. Kann Ton Madonna Davillier Madonna mit dem Kinde (III. Gruppe) (III. Gruppe) The Virgin with Child and angels La Vierge, TEniant et des anges The Virgin with Child La Vierge et l'Enfant Florenz, Loggia dei Lanzi Bronze Judith und Holofernes Judith and Holofernes Um 1455 Judith et Holopherne Florenz, Loggia del Lanzi Bronze Judith und Holofernes Judith and Holofernes Um 1455 Judith et Holopherne ♦Florenz, Loggia dei Lanzi Bronze Sockelreliefs von der Gruppe „Judith und Holofernes“ Reliefs on the pedestal of Urn 1455 Reliefs du socle de Judith and Holofernes" Judith et Holopherne 134 135 Florenz, Loggia del Lanzi Bronze Sockelrelief an der Gruppe „ Judith und Holofernes“ Relief on the pedestal of „ Judith and Holofernes" Um 1455 Relief du socle de „Judith et Holopherne" *Venedig, S. Marla del Frarl St. John the Baptist Johannes der Taufer Um 1450 Holz, bemalt Saint Jean Baptiste * Florenz, Baptisterium Maria Magdalena St. Mary Magdalen Um 1455 Sainte Marie Madeleine 137 Siena, Dom Bronze Johannes der Taufer St. John the Baptist 1457 Saint Jean Baptiste 138 Florenz, Museo Nazionale Bronze The crucifixion Die Kreuzigung Christi Um 1455 La crucifixion 139 ill m * London, Victoria und Albert-Museum Skizze fiir einen Altar der Forzori Sketch for an altar Um 1460 Ton Esquisse d’autel 1 10 Florenz, S. Lorenzo Bronze Kanzel an der Sudseite des Mittelschiffs Pulpit on the southern side of the middle nave Um 1460 Chaire du cote du sud de la nef du milieu 141 142 Florenz, S. Lorenzo Bronze Christus in der Vorholle Auferstehung Himmelfahrt Christi Christ in the limbo Le Christ dans les limbes The resurrection of Christ La resurrection The assumption of Christ L’assomption de Jesus-Christ Detail der Kanzel auf S. 141 Um 1460 143 Florenz, S. Lorenzo Bronze Die Himmelfahrt Christi. Detail von S. 141 The assumption of Christ Um 1460 L’assomption de Jesus-Christ 144 Florenz, S. Lorenzo Die Ausgiefiung des heiligen Geistes. Seitentei 1 der Kanzel auf S. 141 The descent of the Holy Ghost Um 1460 La descente du Saint-Esprit Donatello 10 145 * Florenz, S. Lorenzo Bronze S. Lorenzo auf dem Rost Riickseite der Kanzel auf S. 141 Staupung Christi St. Laurence on the grill Sant Laurent sur la grille Um 1460 Christ’s flagellation La flagellation du Christ Florenz, S. Lorenzo Bronze Kanzel an der Nordseite des Pulpit on the northern side of the Um 1460 middle nave Mittelschiffs Chaire du cote du nord de la nef du milieu 146 147 Florenz, S. Lorenzo Bronze Die Kreuzigung Christi Detail der Kanzel auf S. 146 Kreuzabnahme The crucifixion La crucifixion Um 1460 Christ’s descent from the cross La descente de croix 148 Die Kreuzigung Christi. Detail der Kanzel auf S. 146 The crucifixion Um 1460 La crucifixion 149 Kreuzabnahme. Detail der Kanzel auf S. 146 Christ's descent from the cross Um 1460 La descente de croix Bronze Florenz, S. Lorenzo Christus vor Kaiphas und Pilatus. Seitenteil der Kanzel auf S. 146 Christ before Caiphas and Pilatus Um 1460 Le Christ devant Cai'phe et Pdate 150 Florenz, S. Lorenzo Die Grablegung Christi. The sepulture of Christ Seitenteil der Kanzel auf S. 146 Um 1460 La sepulture de Jesus-Chiist 151 152 Florenz, S. Lorenzo GeiBelung Christi Der Evangelist Joliannes Der Oelberg Christ s flagellation La flagellation du Christ St. John the Evangelist Saint Jean Evangeliste The mount of olives Le mont des oliviers Riickseite der Kanzel auf S. 146 U m 1 460 153 Diomedes raubt das Pallium Faun mit Bacchuskind Nacli 1455 Diomedes robbing the pallium Diomede ravissant le pallium Faun with a little bacchus Faune avec l’enfant Bacchus 154 Florenz, Palazzo Rlccardi (Hof) Marmor Kentaur mit Beute Bacchus und Ariadne auf Naxos Nach 1455 Centaur bearing a basket Centaure portant une Bacchus and Ariadne at Naxos Bacchus et Ariadne a Naxos with fruits corbeille avec des fruits 155 156 Florenz, Palazzo Piccard! (Hof) Marmor Diidalus und lkarus Triumph Amors Nacli 1455 Daedalus and Icarus Dedale et Icare Cupid’s triumph Le driomplie de Cupidon *Siena, Dom Marmor Madonna mit dem Kinde The Virgin with Child 1457 La Vierge et l’Enfant 157 ANHANG ARBE1TEN DER SCHULE DONATELLOS UND NACHBILDUNGEN WORKS OF THE SCHOOL OF DONATELLO CEUVRES DE L’ECOLE DE DONATELLO AND IMITATIONS ET IMITATIONS * Florenz, Via di Pietra Piana t Madonna mit dem Kinde Marmor The Virgin with Child La Vierge et l’Enfant Donatello 11 161 162 Paris, Privatbesitz Marmor Berlin, Kaiser-Friedrlch-Museum Marmor Madonna mit Kind und Engeln Madonna mit dem Kinde The Virgin with Child and angels La Vierge, l’Enfant et des anges The Virgin with Child La Vierge et l’Enfant 163 * London, Victoria und Albert-Museum Mnrmor Paris, Mme. Andrd Marmor Madonna mit Kind und musizierenden Engeln Madonna mit Kind und musizierenden Engeln The Virgin with Child and La Vierge, l’Enfant et des The Virgin with Child and La Vierge, TEnlant et des angels anges musiciens angels anges musiciens 164 ^Berlin, Kaiscr-Friedrlch-Museum Ton, bemalt Florenz, Privatbesltz Stucco Madonna, das Kind anbetend Madonna mit Kind und Engeln The Virgin adoring Christ L’Enfant adore par la Vierge The Virgin with Child La Vierge, l’Enfant et and angels des anges 165 *Piazzola, Conte Camerini ’ Terracotta London, Victoria und Albert-Museum Marmor Madonna mit dem Kinde Madonna mit dem Kinde The Virgin with Child La Vierge et l’Enfant The Virgin with Child La Vierge et l’Enfant 166 ♦Florenz, Prlvatbesitz Stucco *Florenz, Privatbesitz Stucco Madonna mit dem Kinde Madonna mit dem Kinde The Virgin with Child La Vierge et l’Enfant The Virgin with Child La Vierge et 1’Enfant 167 E 3 U_ 0> CO • S° *c -C a> 5 6 03 >> o rG