Donatello Part 6

For ten years Donatello was a.s.sociated with Michelozzo,[90] who began as a.s.sistant and finally entered into a partnership which lasted until 1433. The whole subject is obscure, and until we have a critical biography of Michelozzo his relation with various men and monuments of the fifteenth century must remain problematical. Michelozzo has not hitherto received his due meed of appreciation. As a sculptor and architect he frequently held a subordinate position, and it has been a.s.sumed that he therefore lacked independence and originality.

But the man who was Court architect of the Medici, and director of the Cathedral building staff, was no mere hack; while his sculpture at Milan, Naples, and Montepulciano show that his plastic abilities were far from mean. He was a great man with interludes of smallness. When Donatello required technical help in casting, Michelozzo was called in. Though Donatello had worked for Ghiberti on the bronze gates, he was never quite at home in the science of casting. Gauricus says he always employed professional help--"_nunquam fudit ipse, campanariorum usus opera semper_."[91] Caldieri cast for him at Padua. Michelozzo also helped Luca della Robbia in casting the Sacristy gates which Donatello should have made; the commissions which Donatello threw over were those for work in bronze. The partnership extended over some of the best years of Donatello's life, and three tombs, the St. Louis, and the Prato pulpit are among their joint products. The tombs of Pope John XXIII. in the Baptistery, that of Aragazzi the Papal Secretary at Montepulciano, and that of Cardinal Brancacci at Naples, are noteworthy landmarks in the evolution of sepulchral monuments, which attained their highest perfection in Italy. In discussing them it will be seen how fully Michelozzo shared the responsibilities of Donatello.

Balda.s.sare Coscia, on his election to the Papacy, took the t.i.tle of John XXIII. He was deposed by a council and retired to Florence, where he died in 1418. He was befriended by the Medici, who erected the monument, the last papal tomb outside Rome, to his memory. "_Johannes Quondam Papa XXIII._" is inscribed on it, and it is said that Coscia's successful rival objected to this appellation of his predecessor, but the protest went unheeded. The tomb is remarkable in many ways. Its construction is most skilful, as it was governed by the two upright pillars between which the monument had to be fitted. We have a series of horizontal lines; a frieze at the base, then three Virtues; above this the effigy, and finally a Madonna beneath a baldachino. Each tier is separated by lines which intersect the columns at right angles. The task of making a monument which would not be dwarfed by these huge plain pillars was not easy. But the tomb, which is decorated with prudent reserve, holds its own. The effigy is bronze: all the rest is marble. It was probably coloured, and a drawing in Ghiberti's note-book gives a background of cherry red, with the figures gilded.[92] Coscia lies in his mitre and episcopal robes, his head turned outwards towards the spectator. The features are admirably modelled with the firmness and consistency of living flesh: indeed it is the portrait of a sleeping man, troubled, perhaps, in his dream.

The tomb was made some years after Coscia's death, and Donatello has not treated him as a dead man. The effigy is a contrast to that of Cardinal Brancacci, where we have the unmistakable lineaments and fallen features of a corpse. The dusky hue of Coscia's face should be noticed; the bronze appears to have been rubbed with some kind of dark composition, similar in tone to that employed by Torrigiano. Below the rec.u.mbent Pope is the sarcophagus; two delightful winged boys hold the cartel on which the epitaph is boldly engraved. The three marble figures in niches at the base, Faith, Hope and Charity, belong to a different category. Albertini says that the bronze is by Donatello, and "_li ornamenti marmorei di suoi discipuli_." Half a century later, Vasari says that Donatello made two of them, and that Michelozzo made the Faith, which is the least successful of the three. Modern criticism tends to revert to Albertini, a.s.signing all to Michelozzo, with the presumption that Hope, which is derived from the Siena statuette, was executed from Donatello's design. Certainly the basal figures are without the _brio_ of Donatello's chisel; likewise the Madonna above the effigy, which is vacillating, and may have been the earliest work of Pagno di Lapo, a man about whom we have slender authenticated knowledge, but whom we know to have been well employed in and around Florence. In any case, we cannot reconcile this Madonna with Michelozzo's sculpture. As will be seen later on, Michelozzo had many faults, but he was seldom insipid. The Madonna and Saints on the facade of Sant' Agostino at Montepulciano show that Michelozzo was a vigorous man. This latter work is certainly by him, the local tradition connecting it with one Pasquino da Montepulciano being unfounded. The Coscia tomb is among the earliest of that composite type which soon pervaded Italy. At least one other monument was directly copied from it, that of Raffaello Fulgosio at Padua. This was made by Giovanni da Pisa, and the sculptor's conflict between respect for the old model, and his desires after the new ideas, is apparent in the whole composition.

[Footnote 90: See "Arch. Storico dell' Arte," 1893, p. 209.]

[Footnote 91: "De Sculptura," 1504, folio e. 1. On the other hand, the sculptor Verrocchio cast a bell for the Vallombrosans in 1474, and artillery for the Venetian Republic.]

[Footnote 92: _Op. cit._ p. 70. In this drawing two _putti_ are also shown holding a shield, above the monument; this has now disappeared.]

[Sidenote: The Aragazzi Tomb.]

In the _Denunzia de' beni_ of 1427 Donatello states that he was working with Michelozzo on the tomb of Bartolommeo Aragazzi, and the monument has therefore been ascribed to them both. But recent research has established that, though preparatory orders were given in that year, a fresh contract was made two years later, and that Donatello's share in the work was nil. Michelozzo alone got payment up to 1436 or thereabouts, when the tomb was completed. Donatello's influence would, perhaps, have been visible in the design, but unhappily we can no longer even judge of this, for the tomb is a wreck, having been broken up to make room for structural alterations.[93] Important fragments are preserved, scattered about the church; but the sketch of the tomb, said to be preserved in the local library, has never yet been discovered. The monument had ill-fortune from the very beginning. An amusing letter has come down to us, pathetic too, for it records the first incident in the tragedy. Leonardo Aretino writes to Poggio, that when going home one day he came across a party of men trying to extricate a wagon which had stuck in the deep ruts. The oxen were out of breath and the teamsmen out of temper. Leonardo went up to them and made inquiries. One of the carters, wiping the sweat from his brow, muttered an imprecation upon poets, past, present and future (_Dii perdant poetas omnes, et qui fuerunt unquam et qui futuri sunt_.) Leonardo, a poet himself, asked what harm they had done him: and the man simply replied that it was because this poet, Aragazzi, who was lately dead, ordered his marble tomb to be taken all the way to Montepulciano from Rome, where he died; hence the trouble. "_Haec est imago ejus quam cernis_," said the man, pointing to the effigy, having incidentally remarked that Aragazzi was "_stultus nempe h.o.m.o ac ventosus_."[94] Certainly Aragazzi was not a successful man, and he was addicted to vanity. In the marble we see a wan melancholy face, seemingly of one who failed to secure due measure of public recognition. The monument need not be further described, except to say that two of the surviving figures are very remarkable. They probably acted as caryatides, of which there must have been three, replacing ordinary columns as supporters of the sarcophagus. They can hardly be Virtues, for they are obviously muscular men with curly hair and brawny arms. They are not quite free from mannerisms: the att.i.tudes, granting that the bent position were required by their support of the tomb, are not quite easy or natural. But, in spite of this, they are really magnificent things, placing their author high among sculptors of his day.

[Footnote 93: The effigy is placed in a niche close to the great door of the Cathedral, put there "lest the memory of so distinguished a man should perish"--"_Simulacrum ejus diu neglectum, ne tanti viri memoria penitus deleretur, Politiana pietas hic collocandum curavit anno MDCCCXV_." The remainder consists of a frieze now incorporated in the high altar, on either side of which stand two caryatides. The Christ Blessing is close by. Two bas-reliefs are inserted into pillars opposite the effigy.]

[Footnote 94: "Letters," Florence ed. 1741, vol. ii. 45.]

[Ill.u.s.tration: _Alinari_

TOMB OF CARDINAL BRANCACCI

NAPLES]

[Sidenote: The Brancacci Tomb.]

The Church of Sant' Angelo a Nilo at Naples contains the monument of Cardinal Brancacci, one of the most impressive tombs of this period.

The scheme is a modification of the Coscia tomb. Instead of the three Virtues in niches at the base, there are three larger allegorical figures, which are free standing caryatides below the sarcophagus.

They are allegorical figures, perhaps Fates, and correspond with the two somewhat similar statues at Montepulciano. The Cardinal's effigy lies upon the stone coffin, the face of which has a bas-relief between heraldic shields. Two angels stand above the rec.u.mbent figure, holding back the curtain which extends upwards to the next storey, surrounding a deep lunette in which there is a Madonna between two Saints. Here the monument should have ended, but it is surmounted by an ogival arch, flanked by two trumpeting children and with a central medallion of G.o.d the Father. This topmost tier may have been a subsequent addition. It overweights the whole monument, introduces a discordant architectural motive, and is decorated by inferior sculpture. The Madonna in the lunette is also poor, and the curtain looks as if it were made of lead. But the lower portion of the tomb compensates for the faults above. The caryatides, the bas-relief of the a.s.sumption, the Cardinal himself and the mourning angels above him, are all superb in their different ways. Michelozzo may have been responsible for the architecture, and Pagno di Lapo for the upper reliefs. Donatello himself made the priceless relief of the a.s.sumption, also the effigy, and the two attendants standing above it. The entire tomb is marble: it was made at Pisa,[95] close to the inexhaustible quarries which, being near to the sea, made transport easy and cheap. From the time of Strabo, the _marmor Lunense_ had been carried thence to every port of the Peninsula.[96] Michelozzo took the tomb to Naples, and perhaps added the final touches: not, indeed, that the carving is quite complete, the Cardinal's ear, for instance, being rough-hewn.

Brancacci lies to the left, wearing a mitre on his head, which is raised on a pillow. The chiselling of the face is masterly. The features are shown in painful restless repose. The eyes are sunken and half closed: the lips are drawn, the brow contracted, and the throat shows all the tendons and veins which one notices in the Habbakuk, but which are here relaxed and uncontrolled. It is a death-mask: a grim and instantaneous likeness of the supreme moment, when the agony may have pa.s.sed away, but not without leaving indelible traces of the crisis. The two angels look down on the dead prelate. They hold back the curtain which would conceal the effigy, thus inviting the spectator into the privacy of the tomb. In some ways these two angels are among the n.o.blest creations of the master. They are comparatively small, their position is subordinate, and they have been repaired by a clumsy journeyman. Yet they have a majestic solemnity. They are calm impersonal mourners--not shrouded like the bowed figures which bear the effigy of the Senechal of Burgundy.[97] They stand upright, simply posed and simply clad guardian angels, absorbed by watching the dead.

The three large figures which support the sarcophagus are by Michelozzo, and are intimately related to the Aragazzi caryatides.

That on the right has a Burgundian look. They form a striking group, and their merits are not appreciated as they should be owing to the excellence of the sculpture immediately above them.

[Footnote 95: Donatello worked there for eighteen months. See doc.u.ments in Centofanti, p. 4, &c.]

[Footnote 96: "_... Lapides albi et discolores ad coeruleum vergente specie._" Strabo, "Geog.," 1807 ed., I. v. p. 314.]

[Footnote 97: Louvre, No. 216. Tomb of Philippe Pot, circa 1480.]

[Sidenote: Stiacciato.]

The a.s.sumption of the Virgin occupies the central position of the tomb. It is a small panel. The Virgin is seated in a folding-chair which is familiar in fifteenth-century art. Surrounding her are angels supporting the clouds which make an oval halo round her, a _mandorla_.

The cloud, curiously enough, is very heavy, yielding to the touch, and upheld by the flying angels, whose hands press their way into it, and bear their burden with manifest effort. There is none of the limpid atmosphere which Perugino secured in painting, and Ghiberti in sculpture. But, on the other hand, the air is full of drama, presaging an event for which Donatello thought a placid sky unsuitable. There are seven angels in all; the lowest, upon whose head the Virgin rests her foot, is half Blake and half Michael Angelo. But there are many other busy little cherubs swimming, climbing, and flying amidst the interstices of cloudland. The Virgin herself, draped in easy-flowing material, has folded her hands, and awaits her entry to Paradise. Her face is the picture of anxiety and apprehension. The a.s.sumption is carved in the lowest possible relief, called _stiacciato_. The word means depressed or flattened. It is the word with which Condivi describes the appearance of Michael Angelo's nose after it had been broken--it was "_un poco stiacciato; non per natura_," but by the blow of a certain Torrigiano, "_huomo b.e.s.t.i.a.le e superbo_."[98] Donatello was fond of this method of work. We have a fine example in London,[99]

and his most successful use of _stiacciato_ is on the Roman Tabernacle made a few years after the Brancacci relief. Donatello did not invent this style. It had been used in cla.s.sical times, though scarcely to the extent of Donatello, who drew in the marble. The a.s.syrians also used this low-relief; we find the system fully understood in what are perhaps the most spirited hunting scenes in the world.[100] In these we also notice the square and rectangular undercutting similar to that in many of Donatello's reliefs. Another specimen of this very low-relief is found in Mr. Quincy Shaw's marble panel of the Virgin and Child seated among clouds and surrounded by _putti_. This has been attributed to Donatello on good authority,[101] though it must be remarked that the cherubs' faces show poverty of invention which might suggest the hand of a weaker man. Moreover, the cherubs have halos, which is a later development, and quite contrary to Donatello's early practice. But the relief is an interesting composition, and if by Donatello, may be regarded as the parent of a group which attained popularity. M. Gustave Dreyfus has a smaller marble variant of great charm, made by Desiderio. A stucco panel treated in much the same manner is preserved at Berlin. The Earl of Wemyss has an early version in _repousse_ silver of high technical merit. From this point of view nothing is more instructive than a Madonna and Child at Milan.[102] It is probably the work of Pierino da Vinci, and is a thin oval slab of marble carved on either side. One side is unfinished, and is most valuable as showing the facility with which the sharp graving tools were employed to incise the marble. The composition bears a resemblance to the reliefs just mentioned, and the pose of the two heads is Donatellesque, but the Child is elongated and ill-drawn.

Again, from a technical point of view, a medallion portrait of the late Lord Lytton shows that artists of our own day have used _stiacciato_ with perfect confidence and success.[103] Donatello was not always quite consistent in its employment. In the Entombment at Padua it is combined with high-relief. He, no doubt, acted deliberately; that is to say, he did not sketch a hand in _stiacciato_, because he had forgotten to provide for it in deeper relief. But the result is that the quality of the different planes is lost, and there are discrepancies in the relative values of distance.

The final outcome of _stiacciato_ is the art of the medallist. It is said that Donatello made a medal, but n.o.body has determined which it is. Michelozzo certainly made one of Bentivoglio, about 1445.[104]

This admirable art, which reached its perfection during Donatello's lifetime, owes something of its progress to the pioneer of _stiacciato_.

[Footnote 98: "Vita di Michael Angelo," Rome, 1553, p. 49.]

[Footnote 99: Victoria and Albert Museum, Charge to Peter. See p. 95.]

[Footnote 100: British Museum, a.s.syrian Saloon, Nos. 63-6.]

[Footnote 101: Bode, "Florentiner Bildhauer," p. 119.]

[Footnote 102: In the Museo Archeologico in the Castello, unnumbered.]

[Footnote 103: By Alfred Gilbert, R.A., belonging to the present Earl of Lytton.]

[Footnote 104: See Armand, "Les Medailleurs Italiens," 1887, iii. p.

3.]

[Ill.u.s.tration: _Alinari_

TOMB PLATE OF BISHOP PECCI

SIENA CATHEDRAL]

[Sidenote: Tombs of Pecci, Crivelli, and Others.]

The tomb of Giovanni de' Medici in San Lorenzo is interesting, and has been ascribed to Donatello. There is no doc.u.mentary authority for this attribution, and on stylistic grounds it is untenable.[105] It is a detached tomb, so common elsewhere, but of singular rarity in Italy.

The isolated tomb like this one, like that of Ilaria del Carretto, or that of Pope Sixtus IV. in St. Peter's, has great advantages over the tall upright monument _applique_ to a church wall. The latter is, however, the ordinary type of the Renaissance. The free-standing tomb can be seen from all aspects and lights. Although it must be smaller--some of the later wall-tombs are fifty feet high--the sculptor was obliged to keep his entire work well within the range of vision, and had to rely on plastic art alone for success. Much admirable sculpture, especially the effigies, has been lost by being placed too high on some pretentious catafalque in relief against a wall. The tomb of Giovanni, it is true, though standing in the centre of the sacristy, is covered by a large marble slab, which is the priest's table. It throws the tomb into dark shadow and makes it difficult to see the carving. There are few tombs of important people upon which so much trouble has been expended with so little result.

Donatello is also said to have made a tomb for the Albizzi, but it has perished.[106] The tomb of Ch.e.l.lini in San Miniato, which tradition ascribed to Donatello, is probably the work of Pagno di Lapo. The prim and priggish Cardinal Accaiuoli in the Certosa of Florence does not suggest Donatello's hand. Though conscientious and painstaking, the work is without a spark of energy or conviction. These latter are slab-tombs, flat plates fastened into the church pavements. We have two authentic tombs of this character, on both of which Donatello has signed his name. Had he not done so, we could never have established his authorship of the marble slab-tomb of Archdeacon Crivelli in the Church of Ara Coeli at Rome. It has been trampled by the feet of so many generations, that all the features have been worn away; the legend is wholly effaced in certain parts, and one corner has had to be restored (though at some early date). But at best it cannot have compared with Donatello's similar tomb of Bishop Pecci at Siena, and one could quote numerous instances of equally good work by nameless men. There is one close to the Crivelli marble itself, another in the Pisa Baptistery, two in Santa Croce, and so forth. This kind of tomb had to undergo rough usage. Everybody walked upon it: the deep relief made it a receptacle for mud and rubbish. The effigy of the deceased, as was probably intended by him, was humbled in the dust: _adhesit pavimento_. The slabs got injured, and were often protected by low tables with squat legs. Later on the slabs were raised enough to prevent people standing on them, and thus became like free-standing tombs; but it only made them more suitable for the sitting requirements of the congregation. These sunken tombs, in fact, became a nuisance. Although they were not carved in the very deep relief like those one sees in Bavaria, they collected the dirt, and a papal brief was issued to forbid them--_ut in ecclesiis nihil indecens relinquatur_,[107] and the existing slabs were ordered to be removed.

Irretrievable damage must have resulted from this edict, but fortunately it was disobeyed in Rome and ignored elsewhere. Nowadays it has become the custom to place these slabs upright against the walls, thus preventing further detrition. To Cavaliere D. Gnoli we owe the preservation of the Crivelli tomb, which was in danger of complete demolition.[108] By being embedded in a wall instead of lying in a pavement this kind of monument, while losing its primitive position, often gains in appearance. Crivelli, for instance, lies within an architectural niche. His head rests on a pillow, the ta.s.sels of which fall downwards towards his feet. When placed against a wall the need for a pillow may vanish, but the meaning and use of the niche becomes apparent, while the ta.s.sels no longer defy the laws of gravitation. He becomes a standing figure at once, and the flying _putti_ above his head a.s.sume a rational pose. It has been suggested that this and similar tomb-plates were always intended to be placed upright, and that the delicate ornamentation, of which some traces survive, would never have been lavished on marble doomed to gradual destruction. No general rule can be laid down, but undoubtedly most of these slabs were meant to be rec.u.mbent. There are few cases where some contradiction of _emplacement_ with pose cannot be detected. But two examples may be noted where the slabs were clearly intended to be placed in walls. An unnamed bishop at Bologna lies down, while at either end of the slab an angel _stands_, at right angles to the rec.u.mbent figure, holding a pall or curtain over the dead man.[109]

Signor Bardini also has an a.n.a.logous marble effigy of a mitred bishop, about 1430-40, who lies down while a friar stands behind his head.

These slabs were, therefore, obviously made for insertion in a wall, and they are quite exceptional. The tomb-plate of Bishop Pecci in Siena Cathedral is less open to objection on the ground of incongruity between its position and the Bishop's pose. It is made of bronze, and is set in the tessellated pavement of green, white and mauve marble.

Technically it is a triumph. Although the surface is considerably worn, we have the sense of absolute calm and repose--in striking contrast to the wearied look of Brancacci. The Bishop died on March 1, 1426; a few days previously he wrote his will, while he lay dying--"_sa.n.u.s mente licet corpore languens_"--and left careful instructions as to his burial in an honourable part of the Cathedral and how the exact cost of his funeral was to be met.[110] In a way the figure resembles St. Louis, and Donatello probably had the help of Michelozzo in the casting. The work itself is extremely good, and the bronze has the rich colour which one finds most frequently in the smaller provincial towns where time is allowed to create its own _patina_. Donatello was a bold innovator, and the Tomb of Coscia, though not the parent of the Renaissance theory of funeral monuments, had marked influence upon its evolution. From the simple outdoor tombs placed upon pillars, such as one princ.i.p.ally finds north of the Apennines, there issued a grander idea which culminated in the monuments of the Scaligers at Verona. But Donatello reverted to the earlier type of indoor tomb, and from his day the tendency to treat them as an integral feature of mural and structural decoration steadily increased. A host of sculptors filled the Tuscan churches with those memorials which const.i.tute one of their chief attractions.

These men imbued death with its most gentle aspect, concealing the tragedy and sombre meaning of their work with gay arabesques and the most living and lovable creations of their fancy. The _putti_, the bright heraldry, the play of colour, and the opulence of decoration, often distract one's eye from the effigy of the dead: and he, too, is often smiling. He may represent the past: the rest of the tomb is born of the present, and seldom--exception being made for a group of tombs to which reference will be made later on[111]--seldom is there much regard for the future. The dead at least are not asked to bury their dead. They lie in state, surrounded by all that is most young and blithe in life: it is a death which shows no indifference to the life which is left behind. With them death is in the midst of life, not life in the midst of death. Donatello was too severe for the later Renaissance, and the brilliant sculptors who succeeded him lost influence in their turn. With the development of sculpture, which during Michael Angelo's lifetime acquired a technical skill to which Donatello never aspired, the tomb became a vehicle for ostentation and display; and there was a reaction towards the harsher symbols of death. Instead of the quiet mourner who really mourns, we have the strident and professional weeper--a parody of sorrow. Tier upon tier these prodigious monuments rise, covering great s.p.a.ces of wall, decorated with skulls and skeletons, with Time carrying his scythe, with negro caryatides, and with apathetic or showy models masquerading as the cardinal virtues. The effigy itself is often perched up so high as to be invisible, or sitting in a ridiculous posture. "Princes'

images on their tombs," says Bosola in Webster's play, "do not lie as they were wont, seeming to pray up to heaven; but with their hands under their cheeks, as if they had died of toothache."[112] Venice excelled in this rotund and sweltering sculpture. Yet it cannot be wholly condemned. Though artificial, theatrical and mundane, its technical supremacy cannot be denied. The amazing ease with which these huge monuments are contrived, and the absolute sense of mastery shown by the sculptor over the material are qualities too rare to be lightly overlooked. Whatever we may think of the artist, our admiration is commanded by the craftsman.

[Footnote 105: Wreaths and _putti_ form its decoration, and though Donatellesque, they are not by Donatello. This was pointed out as early as 1819. See "Monumenti Sepolcrali della Toscana," p. 28.]

[Footnote 106: Bocchi, 354.]

[Footnote 107: Bull., "c.u.m primum," -- 6, "_et ut in ecclesiis nihil indecens relinquatur, iidem provideant, ut capsae omnes, et deposita, seu alia cadaverum, conditoria super terram existentia omnino amoveantur, pro ut alias statutum fuit, et defunctorum corpora in tumbis profundis, infra terram collocentur_." Bullarium, 1566, vol.

iv., part ii., p. 285. For the whole question of the evolution of these tombs, see Dr. von Lichtenberg's valuable book, "Das Portrat an Grabdenkmalen," Stra.s.sburg, 1902.]