Donatello | Page 2

JUDITH 140
THE MAGDALEN AND SIMILAR STATUES 144
THE ALTAR AT PADUA 149
THE LARGE STATUES 152
THE BRONZE RELIEFS 156
THE SYMBOLS OF THE EVANGELISTS 161
THE CHOIR OF ANGELS 163
THE PIETÀ AND THE ENTOMBMENT 164
DONATELLO'S ASSISTANTS 167

BELLANO AND THE GATTAMELATA TOMBS 170
GATTAMELATA 173
SMALLER RELIEFS AND PLAQUETTES 176
THE MADONNAS 179
THE PULPITS OF SAN LORENZO 186
DONATELLO'S INFLUENCE ON SCULPTURE 190
EARLY CRITICISM OF DONATELLO 193
CHARACTER AND PERSONALITY OF DONATELLO 194
APPENDIX I 199
APPENDIX II 201
APPENDIX III 204
INDEX 207

ILLUSTRATIONS
Christ on the Cross Frontispiece
Joshua To face page 10
Poggio " 12
Mocenigo Tomb " 14
Marble David " 16
St. John the Evangelist " 18

Jeremiah " 20
Habakkuk " 24
The Zuccone " 26
Abraham and Isaac " 30
St. Mark " 36
St. George " 40
St. George " 42
Annunciation " 48
San Giovannino " 56
St. John Baptist, Marble " 58
Clay Sketch of Crucifixion and Flagellation " 62
Niche of Or San Michele " 64
The Marzocco " 66
The Martelli Shield " 68
Salome Relief, Siena " 70
Tomb of Coscia, Pope John XXIII. " 72
Effigy of Pope John XXIII. " 74
Tomb of Cardinal Brancacci " 78
Tomb Plate of Bishop Pecci " 86
Tabernacle " 94

The Charge to Peter " 96
The Bronze David " 100
Cantoria " 106
Cantoria (Detail) " 108
The Prato Pulpit " 110
Bronze Amorino " 114
San Giovannino " 118
Niccolò da Uzzano " 122
Bronze Doors " 136
Judith " 140
St. Mary Magdalen " 144
St. John the Baptist " 146
Saint Francis, the Madonna, and Saint Anthony " 152
Miracle of the Speaking Babe " 156
Miracle of the Miser's Heart " 158
Miracle of the Mule " 160
Symbol of St. Matthew " 162
Choristers " 164
Choristers " 164
Christ Mourned by Angels " 166

Super Altar by Giovanni da Pisa " 168
Tomb of Giovanni, Son of General Gattamelata " 170
Tomb of General Gattamelata " 172
Shrine of St. Justina " 172
General Gattamelata " 174
Colleone " 176
Madonna and Child " 180
"Pazzi" Madonna " 182
Madonna and Child " 184
Madonna " 186
Side Panel of Pulpit " 188
End Panel of Pulpit " 190
_The reproductions from photographs which illustrate this volume have
been made by Messrs. J.J. Waddington, Ltd. 14 Henrietta Street, W.C._

DONATELLO
The materials for a biography of Donatello are so scanty, that his life
and personality can only be studied in his works. The Renaissance gave
birth to few men of productive genius whose actual careers are so little
known. Unlike many of his contemporaries, Donatello composed no
treatise on his art; he wrote no memoir or commentary, no sonnets, and
indeed scarcely a letter of his even on business topics has survived. For
specific information about his career we therefore depend upon some
returns made to the Florentine tax-collectors, and upon a number of
contracts and payments for work carried out in various parts of Italy.

But, however familiar Donatello the sculptor may be to the student of
Italian art, Donatello the man must remain a mystery. His biography
offers no attraction for those whose curiosity requires minute and
intimate details of domestic life. Donatello bequeathed nothing to
posterity except a name, his masterpieces and a lasting influence for
good.
The Denunzia de' beni, which was periodically demanded from
Florentine citizens, was a declaration of income combined with what
would now be called census returns. Donatello made three statements
of this nature,[1] in 1427, 1433 and 1457. It is difficult to determine his
age, as in each case the date of his birth is differently inferred. But it is
probable that the second of these returns, when he said that he was
forty-seven years old, gives his correct age. This would place his birth
in 1386, and various deductions from other sources justify this
attribution. We gather also that Donatello lived with his mother Orsa,
his father having died before 1415. The widow, who is mentioned in
1427, and not in 1433, presumably died before the latter date. One
sister, Tita, a dowerless widow, is mentioned in the earliest denunzia,
living with her mother and Donatello, her son Giuliano having been
born in 1409. It is probable that Donatello had a brother, but the matter
is somewhat obscure, and it is now certain that he cannot be identified
with the sculptor Simone, who used to be considered Donatello's
brother on the authority of Vasari.
[Footnote 1: Gaye, Carteggio, i. 120. See Appendix II. A.]
* * * * *
[Sidenote: Competition for the Baptistery Gates.]
The year 1402 marks an event of far-reaching importance in the history
of Italian art. Having decided to erect bronze doors for their