Donatello Part 5

[Footnote 72: "Due Trattati," ch. xii.]

[Footnote 73: Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.]

[Footnote 74: April 1434.]

[Footnote 75: See _American Journal of Arch._, June 1900.]

[Footnote 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 Balda.s.sare 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.]

[Footnote 77: Uffizzi, Frame 6, No. 6347 f.]

[Footnote 78: See Life by J.T. Smith, 1828.]

[Footnote 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.]

[Ill.u.s.tration: _Alinari_

NICHE OF OR SAN MICHELE

THE GROUP BY VERROCCHIO]

Sculpture relies upon the contour, architecture upon the line. The distinction is vital, and were it not for the number and importance of the exceptions, from Michael Angelo down to Alfred Stevens, one would think that the sculptor-architect would be an anomaly. In describing the pursuits of Donatello and Brunellesco during their first visit to Rome, Manetti says that the former was engrossed by his plastic researches, "_senza mai aprire gli occhi alla architettura_." It is difficult to believe that Donatello had no eyes for architecture.

There are several reasons to show that later on he gave some attention to its study. Like the Roman Tabernacle, the Niche on Or San Michele[80] is without any Gothic details. Albertini mentions Donatello as its sole author, but it is probable that Michelozzo, who helped on the statue of St. Louis, was also a.s.sociated with its niche.

It is a notable work, designed without much regard to harmony between various orders of architecture, but making a very rich and pleasing whole. It is decorated with some admirable reliefs. On the base are winged _putti_ carrying a wreath; in the spandrils above the arch are two more. The upper frieze has also winged cherubs' heads, six of them with swags of fruit and foliage, all of exceptional charm and vivacity. The motive of wings recurs in the large triangular s.p.a.ce at the top; flanking the magnificent Trinity, three grave and majestic heads, which though united are kept distinct, and though similar in type are full of individual character. This little relief, placed rather high, and discountenanced by the bronze group below, is a memorable achievement of the early fifteenth century and heralds the advent of the power and solemnity, the _Terribilita_ of Michael Angelo. Donatello's apt.i.tude for architectural setting is also ill.u.s.trated by the choristers' galleries in the Cathedral and San Lorenzo. The former must be dealt with in detail when considering Donatello's treatment of childhood. As an architectural work it shows how the sculptor employed decorative adjuncts such as mosaic and majolica[81] to set off the white marble; he also added deep maroon slabs of porphyry and bronze heads, thus combining various arts and materials. Having no sculpture, the Cantoria of San Lorenzo is perhaps more important in this connection, as it is purely constructive, while its condition is intact: the Cathedral gallery having been rebuilt on rather conjectural lines. In San Lorenzo we find the same ideas and peculiarities, such as the odd egg and dart moulding which reappears on the Annunciation. The colour effects are obtained by porphyry and inlaid marbles. But we see how much Donatello trusted to sculpture, and how indifferently he fared without it. This gallery does not retain one's attention. There is a stiffness about it, almost a monotony, and it looks more like the fragment of a balcony than a _Cantoria_, for there is no marked terminal motive to complete and enclose it at either end. Two gateways have been ascribed to Donatello, but there is nothing either in their architecture or the treatment of their heraldic decoration, which is distinctive of the sculptor.[82] There can be no doubt that Donatello was employed as architect by the Chapter of Sant' Antonio at Padua,[83] and his love of buildings is constantly shown in the background of his reliefs. But the strongest testimony to his architectural skill is derived from the fact that he was commissioned in 1416 to make a model for the then unfinished cupola of the Cathedral at Florence. Brunellesco and Nanni di Banco also received similar orders. Brunellesco alone understood the immense difficulty of the task, and in the next year he announced his return to Rome for further research. In 1418 the sum of two hundred gold florins was offered for the best model, and in 1419 Ghiberti, Nanni di Banco, Donatello and Brunellesco all received payments for models. Donatello's was made of brick. Ultimately the work was entrusted to Brunellesco, who overcame the ignorance and intrigues which he encountered from all sides, his two staunch friends being Donatello and Luca della Robbia. As to the nature of Donatello's models we know nothing; it is, however, clear that his opinion was at one time considered among the best available on a problem which required knowledge of engineering. As a military engineer Donatello was a failure. He was sent in 1429 with other artists to construct a huge dam outside the besieged town of Lucca, in order to flood or isolate the city. The amateur and _dilettante_ of the Renaissance found a rare opportunity in warfare; and this pa.s.sion for war and its preparations occurs frequently among these early artists. Leonardo designed scores of military engines. Francesco di Giorgio has left a whole bookful of such sketches, in one of which he antic.i.p.ates the torpedo-boat.[84] So, too, Michael Angelo took his share in erecting fortifications, though he did not fritter away so much time on experiments as some of his contemporaries. Donatello and his colleagues did not even leave us plans to compensate for their ignominious failure. One is struck by the confidence of these Renaissance people, not only in art but in every walk of life. They were so sure of success, that failure came to be regarded as surprising, and very unprofessional. Michael Angelo had no conception of possible failure. He embarked upon the colossal statue of the Pope when quite inexperienced in casting; he was the first to taunt Leonardo on his failure to make the equestrian statue. When somebody failed, the work was handed over to another man, who was expected to succeed. Thus Ciuff.a.gni had to abandon an unpromising statue, _quod male et inepte ipsam laboravit_,[85] and the David of Michael Angelo was made from a block of marble upon which Agostino di Duccio had already made fruitless attempts.

[Footnote 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.]

[Footnote 81: _Cf._ Payments to Andrea Moscatello, for painted and glazed terra-cotta for the Paduan altar. May 1449.]

[Footnote 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.]

[Footnote 83: _Cf._ Payments for work on "_Archi de la balcona de lo lavoriero de la +_," _i.e._, the crociera of the church, March 30 and April 11, 1444.]

[Footnote 84: Siena Library.]

[Footnote 85: Domopera, 7, vii. 1433.]

[Ill.u.s.tration: _Alinari_

THE MARZOCCO

BARGELLO]

[Ill.u.s.tration: _Alinari_

THE MARTELLI SHIELD]

Two fountains are ascribed to Donatello, made respectively for the Pazzi and Medici families. The former now belongs to Signor Bardini.

It is a fine bold thing, but the figure and centrepiece are unfortunately missing. The marble is coated with the delicate patina of water: its decoration is rather nondescript, but there is no reason to suppose that Rossellino's _fonte_ mentioned by Albertini was the only one possessed by the Great House of the Pazzi. The Medici fountain, now in the Pitti Palace, is rather larger, being nearly eight feet high. The decoration is opulent, and one could not date these florid ideas before Donatello's later years. The boy at the top dragging along a swan is Donatellesque, but with mannerisms to which we are unaccustomed. The work is not convincing as regards his authorship. The marble Lavabo in the sacristy of San Lorenzo is also a doubtful piece of sculpture. It has been attributed to Verrocchio, Donatello and Rossellino. It has least affinity to Donatello. The detailed attention paid by the sculptor to the floral decoration, and the fussy manner in which the whole thing is overcrowded, as if the artist were afraid of simplicity, suggest the hand of Rossellino, to whom Albertini, the first writer on the subject, has ascribed it.

Donatello made the Marzocco, the emblematic Lion of the Florentines, and it has therefore been a.s.sumed that he also made its marble pedestal. This is held to be contemporary with the niche of Or San Michele. So far as the architectural and decorative lines are concerned this is not impossible, though the early Renaissance motives long retained their popularity. There is, however, one detail showing that the base must be at least twenty-five years older than the niche.

The arms of the various quarters of Florence are carved upon the frieze of the base. Among these shields we notice one bearing "on a field semee of fleurs-de-lys, a label, above all a bendlet dexter."

These are not Italian arms. They were granted in 1452 to Jean, Comte de Dunois, an illegitimate son of the Duc d'Orleans. His coat had previously borne the bendlet sinister, but this was officially turned into a bendlet dexter, to show that the King had been pleased to legitimise him in recognition of his services to Joan of Arc. Jean was a contemporary of Donatello, and the coat may have been placed among the other shields as a compliment to France. Certainly no quarter of a town could use a mark of cadency below a bendlet, and Florence was more careful than most Italian towns to be precise in her heraldry.

Numbers of stone shields bearing the arms of Florentine families were placed upon the palace walls. When high up and protected by the broad eaves they have survived; but, as a rule, those which were exposed to the weather, carved as they usually were in soft stone, have perished.[86] Bocchi mentions that Donatello made coats-of-arms for the Becchi, the Boni and the Pazzi. Others have been ascribed to him, namely, the Stemma of the Arte della Seta, from the Via di Capaccio, that on the Gianfigliazzi Palace, the shield inside the courtyard of the Palazzo Davanzati, and that on the Palazzo Quaratesi, all in Florence. These have been much repaired, and in some cases almost entirely renewed. The shield on the eastern side of the old Martelli Palace (in the Via de' Martelli, No. 9) is, perhaps, coeval with Donatello, but it is insignificant beside the shield preserved inside the present palace. This coat-of-arms, which is coloured according to the correct metals and tinctures, is one of the finest extant specimens of decorative heraldry. It is a winged griffin rampant, with the tail and hindlegs of a lion. The shield is supported by the stone figure of a retainer, cut in very deep relief, as the achievement was to be seen from the street below. But the shield itself rivets one's attention. This griffin can be cla.s.sed with the Stryge, or the Etruscan Chimaera as a cla.s.sic example of the fantastic monsters which were used for conventional purposes, but which were widely believed to exist. It possesses all the traditional attributes of the griffin. It is fearless and heartless: its horrible claws strike out to wound in every direction, and the whole body vibrates with feline elasticity, as well as the agile movement of a bird. Regarding it purely as a composition, we see how admirably Donatello used the s.p.a.ce at his command: his economy of the shield is masterly. It is occupied at every angle, but nowhere crowded. The s.p.a.ces which are left vacant are deliberately contrived to enhance the effect of the figure. It is the ant.i.thesis of the Marzocco.[87] The sculptor must have seen lions, but the Marzocco is not treated in a heraldic spirit, although it holds the heraldic emblem of Florence, the _fleur de lys florencee_.

Physically it is unsuccessful, for it has no spring, there is very little muscle in the thick legs which look like pillars, and the back is far too broad. But Donatello is saved by his tact; he was ostensibly making the portrait of a lion; though he gives none of its features, he gives us all the chief leonine characteristics. He excelled in imaginary animals, like the Chinese artists who make admirable dragons, but indifferent tigers.

[Footnote 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.]

[Footnote 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.]

[Ill.u.s.tration: _Alinari_

SALOME RELIEF, SIENA.

STATUETTE OF FAITH (TO LEFT)]

[Sidenote: The Siena Font.]

Siena had planned her Cathedral on so ambitious a scale, that had not the plague reduced her to penury the Duomo of Florence would have been completely outrivalled. The Sienese, however, ordered various works of importance for their Cathedral, and among these the Font takes a high place. It was entrusted to Jacopo della Quercia, who had the active a.s.sistance of Donatello and Ghiberti, as well as that of the Turini and Neroccio, townsmen of his own. Donatello was thus brought under new influences. He made a relief, a _sportello_ or little door, two statuettes, and some children, all in bronze, being helped in the casting by Michelozzo. Jacopo, who was about ten years older than Donatello, had been a compet.i.tor for the Baptistery gates. He was a man of immense power, in some ways greater than Donatello; never failing to treat his work on broad and ma.s.sive lines, and one of the few sculptors whose work can survive mutilation. The fragments of the Fonte Gaya need no reconstruction or repair to tell their meaning; their statuesque virtues, though sadly mangled, proclaim the unmistakable touch of genius. But Donatello's personality was not affected by the Sienese artists. Jacopo, it is true, was constantly absent, being busily engaged at Bologna, to the acute annoyance of the Sienese, who ordered him to return forthwith. Jacopo said he would die rather than disobey, "_potius eligeret mori quam non obedire patriae suae_"; but the political troubles at the northern town prevented his prompt return. However, after being fined he got home, was reconciled to the Chapter, and ultimately received high honours from the city.

His font is an interesting example of transition; the base is much more Gothic than the upper part. The base or font proper is a large hexagonal bason decorated with six bronze reliefs and a bronze statuette between each--Faith, Hope, Charity, Justice, Prudence, and Strength. The reliefs are scenes from the life of the Baptist. From the centre of the font rises the tall Renaissance tabernacle with five niches, in which Jacopo placed marble statues of David and the four major prophets, one of which suggested the San Petronio of Michael Angelo. A statue of the Baptist surmounts the entire font. In spite of the number of people who co-operated with Jacopo, the whole composition is harmonious. Donatello made the gilded statuettes of Faith and Hope. The former, looking downwards, has something of Sienese severity. Hope is with upturned countenance, joining her hands in prayer; charming alike in her gesture and pose. Two instalments for these figures are recorded in 1428. The authorities had been lax in paying for the work, and we have a letter[88] asking the Domopera for payment, Donatello and Michelozzo being rather surprised--"_a.s.sai maravigliati_"--that the florins had not arrived. The last of these bronze Virtues, by Goro di Neroccio, was not placed on the font till 1431. Donatello also had the commission for the _sportello_, the bronze door of the tabernacle. But the authorities were dissatisfied with the work and returned it to the sculptor, though indemnifying him for the loss.[89] This was in 1434, the children for the upper cornice having been made from 1428 onwards. The relief, which was ordered in 1421, was finished some time in 1427. It is Donatello's first relief in bronze, and his earliest definitive effort to use a complicated architectural background. The incident is the head of St. John being presented on the charger by the kneeling executioner. Herod starts back dismayed at the sight, suddenly realising the purport of his action. Two children playing beside him hurriedly get up; one sees that in a moment they, too, will be terror-stricken. Salome watches the scene; it is very simple and very dramatic. The bas-relief of St.

George releasing Princess Sabra, the Cleodolinda of Spencer's Faerie Queen, is treated as an epic, the works having a connecting bond in the figures of the girls, who closely resemble each other. Much as one admires the _elan_ of St. George slaying the dragon, this bronze relief of Siena is the finer of the two; it is more perfect in its way, and Donatello shows more apt appreciation of the s.p.a.ces at his disposal. The Siena plaque, like the marble relief of the dance of Salome at Lille, to which it is a.n.a.logous, has a series of arches vanishing into perspective. They are not fortuitous buildings, but are used by the sculptor to subdivide and multiply the incidents. They give depth to the scene, adding a sense of the beyond. The Lille relief has a wonderful background, full of hidden things, reminding one of the mysterious etchings of Piranesi.

[Footnote 88: 9. v. 1427. Milanesi, ii. 134.]

[Footnote 89: Lusini, 28.]

[Ill.u.s.tration: _Alinari_

TOMB OF COSCIA, POPE JOHN XXIII.

BAPTISTERY, FLORENCE]

[Ill.u.s.tration: _Alinari_

EFFIGY OF POPE JOHN XXIII.

BAPTISTERY, FLORENCE]

[Sidenote: Michelozzo and the Coscia Tomb.]