[125]"Works," 1796, i. 151.
[125]"Works," 1796, i. 151.
[126]"Lectures," 1838, p. 248.
[126]"Lectures," 1838, p. 248.
[127]Semper, p. 93.
[127]Semper, p. 93.
[128]Ed. 1768, p. 74.
[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.
[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.
[130]See Schmarsow, p. 32.
[131]See "Arch. Storico dell' Arte," 1888, p. 24.
[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.
[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.
[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.
[134]Molinier, "Les Plaquettes," 1886, p. xxvi.
[135]Cf.St. Ursula, Accademia, Venice, No. 574.
[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.
[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."
[137]Giù abasso è Davit di bronzo sopra la colonna fine di marmo variegato."Memoriale."
[138]"Life of Bandinelli," x. 301.
[138]"Life of Bandinelli," x. 301.
[139]"Due dialogi di Giovanni Andrea Gilio da Fabriano," 1564; a tiresome and discursive tirade.
[139]"Due dialogi di Giovanni Andrea Gilio da Fabriano," 1564; a tiresome and discursive tirade.
[140]22. viii. 1582. Reprinted in Bottari, ii. 529.
[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.
[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.
[142]Reymond, I., p. 107.
[143]By Nino Pisano, in Sta. Caterina, Pisa.
[143]By Nino Pisano, in Sta. Caterina, Pisa.
[144]14, vii. 1428.
[144]14, vii. 1428.
[145]27, v. 1434.
[145]27, v. 1434.
[146]Letter from Matteo degli Orghani, printed with the other documents in C. Guasti, opere, iv. 463-477.
[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.
[147]A pair of terra-cotta variants of these panels are preserved in the Wallace Collection at Hertford House.
[148]Psalm cl.
[148]Psalm cl.
[149]Psalm cxlix.
[149]Psalm cxlix.
[150]"Trattato della Pintura," Richter, i. 291.
[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.
[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.
[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.
[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.
[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."
[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.
[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.
[157]No. 383. Marble. Goupil Bequest.
[158]Stucco, No. 38A.Cf.also one belonging to Herr Richard von Kaufmann, Berlin.
[158]Stucco, No. 38A.Cf.also one belonging to Herr Richard von Kaufmann, Berlin.
[159]No. 1274, St. John, Florentine School, a painting.
[159]No. 1274, St. John, Florentine School, a painting.
[160]Cf.Naples Museum, No. 5592.
[160]Cf.Naples Museum, No. 5592.
[161]Cf.drawings of façades in Vettorio Ghiberti's Note-book.
[161]Cf.drawings of façades in Vettorio Ghiberti's Note-book.
[162]Bargello Cortile, No. 3, by Niccolo di Piero.
[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.
[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, preservedin una custodiawhich Richa thought ought to have been made of crystal, so precious was the bust.—"Ch. Fiorentine," 1758, v. 39.
[164]It used to be over one of the doors, preservedin una custodiawhich 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.
[165]Victoria and Albert Museum, No. 7585, 1861.
[166]Bargello, No. 18, and No. 6, life-sized bronze.
[166]Bargello, No. 18, and No. 6, life-sized bronze.
[167]Bargello, 17.
[167]Bargello, 17.
[168]Gaye, i. 121.
[168]Gaye, i. 121.
[169]Victoria and Albert Museum, No. 923, 1900, and Museo Archeologico, No. 1681, both marble.
[169]Victoria and Albert Museum, No. 923, 1900, and Museo Archeologico, No. 1681, both marble.
[170]Nos. 585 and 758.
[170]Nos. 585 and 758.
[171]"Life of Henry VII.," ed. 1825, iii. 417.
[171]"Life of Henry VII.," ed. 1825, iii. 417.
[172]See Westmacott's lectures on Sculpture, II. III.,Athenæum, 1858.
[172]See Westmacott's lectures on Sculpture, II. III.,Athenæum, 1858.
[173]2nd Comm. Vasari, I. xxx.
[173]2nd Comm. Vasari, I. xxx.
[174]Letter of 1739, p. 186.
[174]Letter of 1739, p. 186.
[175]17, viii. 1549, Antonio Doni, printed in Bottari, iii. 341.
[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.
[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.
[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.
[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.
[179]Richa, III., xxxiii.
[180]The inscription is: "Votis publicis S. Mariæ Magdalenæ simulacrum ejus insigne Donati opus pristino loco elegantiario repositum anno 1735."
[180]The inscription is: "Votis publicis S. Mariæ Magdalenæ simulacrum ejus insigne Donati opus pristino loco elegantiario repositum anno 1735."
[181]Seep. 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.
[181]Seep. 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.
[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.
[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.
[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.
[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.
[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.
[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.
[188]Victoria and Albert Museum, No. 157, 1894.
[189]Ibid.No. 7605, 1861, terra-cotta. Louvre, No. 465, ditto.
[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.
[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.
[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.
[192]See Kristeller's Mantegna, translated by S.A. Strong, 1901, p. 17.
[193]Over the Sacristy doors in the Cathedral.
[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.
[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.
[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.
[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.
[197]Cf.Battle of Romans and Barbarians, No. 12. Museo Nazionale, Rome.
[198]Battle, Casa Buonarroti, Florence.
[198]Battle, Casa Buonarroti, Florence.
[199]The Walpole Eagle from the Tiber, belonging to the Earl of Wemyss.
[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.
[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.
[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.
[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.
[203]7, xii. 1549. Printed in Bottari, ii. 70.
[204]19, x. 1451. Milanesi, ii. 271.
[204]19, x. 1451. Milanesi, ii. 271.
[205]17. x. 1457;ibid.295.
[205]17. x. 1457;ibid.295.
[206]Marble, No. 149.
[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 whoeverdicesse vilania o parole ingiuriose al retore: Art. 55. Milanesi, i. 25.
[207]The rules of the Sienese guild of painters provided against strife within their own circles by imposing a fine upon whoeverdicesse vilania o parole ingiuriose al retore: Art. 55. Milanesi, i. 25.
[208]"De antiq. urbis Patavii," 1560, p. 374.
[208]"De antiq. urbis Patavii," 1560, p. 374.
[209]"De Sculptura," 1504, gathering f.
[209]"De Sculptura," 1504, gathering f.
[210]Marble, in Sacristy of S. Antonio.
[210]Marble, in Sacristy of S. Antonio.
[211]Victoria and Albert Museum, No. 75, 1879.
[211]Victoria and Albert Museum, No. 75, 1879.
[212]29, vi. 1453. Donatello is still described asabitante in Padova.
[212]29, vi. 1453. Donatello is still described asabitante in Padova.
[213]Victoria and Albert Museum, No. 8717, 1863.
[213]Victoria and Albert Museum, No. 8717, 1863.
[214]Museo Archeologico, Doge's Palace.
[214]Museo Archeologico, Doge's Palace.
[215]Louvre, "His de la Salle Collection," No. 385.
[215]Louvre, "His de la Salle Collection," No. 385.
[216]Marble, No. 39b.
[216]Marble, No. 39b.
[217]Cf.a Donatellesque stucco Madonna beneath abaldachinobelonging to Signor Bardini, who also possesses a stucco Entombment similar to the London bronze.
[217]Cf.a Donatellesque stucco Madonna beneath abaldachinobelonging to Signor Bardini, who also possesses a stucco Entombment similar to the London bronze.
[218]Victoria and Albert Museum, No. 8552, 1863. Bronze.
[218]Victoria and Albert Museum, No. 8552, 1863. Bronze.
[219]Stucco No. 41.
[219]Stucco No. 41.
[220]Seep. 62.
[220]Seep. 62.
[221]v. 100.
[221]v. 100.
[222]Mentioned in his will. He died in 1500. Milanesi, iii. p. 8.
[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.
[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.
[224]Marble, Berlin Museum.
[225]Victoria and Albert Museum, No. 7412, 1860; Berlin Museum; collections of Herr von Beckerath and Herr Richard von Kaufmann.
[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.
[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.
[227]Victoria and Albert Museum, No. 57, 1867.
[228]Giovanni Bastianini, 1830-68, though thedoyenof forgers, did not profit by his dexterity, and died almost penniless.
[228]Giovanni Bastianini, 1830-68, though thedoyenof forgers, did not profit by his dexterity, and died almost penniless.
[229]Terra-cotta.
[229]Terra-cotta.
[230]Victoria and Albert Museum, No. 8376, 1863.
[230]Victoria and Albert Museum, No. 8376, 1863.
[231]No. 53e.Bergamo, Morelli Collection, No. 53.
[231]No. 53e.Bergamo, Morelli Collection, No. 53.
[232]Victoria and Albert Museum, No. 93, 1882.
[232]Victoria and Albert Museum, No. 93, 1882.
[233]Ibid.No. 7594, 1861.
[233]Ibid.No. 7594, 1861.
[234]One was in the Spitzer Collection, another belongs to M. Gustave Dreyfus.
[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.
[235]No. 294, Davillier bequest; and in the entrance hall to the Sacristy of the Eremitani at Padua.
[236]Terra-cotta No. 39a.
[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.
[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.
[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.
[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.
[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.
[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.
[242]Casa Buonarroti, Florence.
[243]From the Gualandi Collection. It is attributed by some to a Neapolitan sculptor.
[243]From the Gualandi Collection. It is attributed by some to a Neapolitan sculptor.
[244]"Vita," 1553, p. 14.
[244]"Vita," 1553, p. 14.
[245]"Ricordi," 1554, p. 51.
[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."
[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."
[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."
[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.
[249]"Dialogues," Raczynski ed. Paris, 1846, p. 56.
[250]"Due Trattati," ed. Milanesi, 1857, passim.
[250]"Due Trattati," ed. Milanesi, 1857, passim.
[251]"Due Vite di Brunellesco," p. 142.
[251]"Due Vite di Brunellesco," p. 142.
[252]Semper, 321.
[252]Semper, 321.
[253]"Lem.," iii. 243, in first edition.
[253]"Lem.," iii. 243, in first edition.
[254]1677 edition.
[254]1677 edition.
[255]Gauricus, b. 1.
[255]Gauricus, b. 1.
[256]Vespasiano de' Bisticci, Vite.
[256]Vespasiano de' Bisticci, Vite.
[257]"Vasari," iii. 253.
[257]"Vasari," iii. 253.
[258]Ibid.iii. 244.
[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."
[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.
[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.