Chapter 6

Fully as Donatello realised the unity of the arts, we cannot claim him as a universal genius, like Leonardo or Michael Angelo, who combined the art of literature with plastic, pictorial and architectural distinction. But at the same time Donatello did not confine himself to sculpture. He was a member of the Guild of St. Luke: he designed a stained-glass window for the Cathedral: his opinion on building the Cupola was constantly invited, and he made a number of marble works, such as niches, fountains, galleries and tombs, into which the pursuit of architecture and construction was bound to enter. Moreover, his backgrounds were usually suggested by architectural motives. Donatello joined the painters' guild of St. Luke in 1412, and in a document of this year he is called _Pictor_.[64] There is a great variety in the names and qualifications given to artists during the fifteenth century. In the first edition of the Lives, Vasari calls Ghiberti a painter. Pisano, the medallist, signed himself Pictor. _Lastrajuolo_, or stone-fitter, is applied to Nanni di Banco.[65] Giovanni Nani was called _Tagliapietra_,[66] Donatello is also called _Marmoraio_, _picchiapietre_,[67] and woodcarver.[68] In the commission from the Orvieto Cathedral for a bronze Baptist he is comprehensively described as "_intagliatorem figurarum, magistrum lapidum atque intagliatorem figurarum in ligno et eximium magistrum omnium trajectorum_."[69] Finally, like Ciuffagni,[70] he is called _aurifex_, goldsmith.[71] Cellini mentions Donatello's success in painting,[72] and Gauricus, who wrote early in the sixteenth century, says that the favourite maxim inculcated by Donatello to his pupils was "_designate_"--"Draw: that is the whole foundation of sculpture."[73] The only pictorial work that has survived is the great stained-glass Coronation of the Virgin in the Duomo. Ghiberti submitted a competitive cartoon and the Domopera had to settle which was "_pulchrius et honorabilius pro ecclesia_." Donatello's design was accepted,[74] and the actual glazing was carried out by Bernardo Francesco in eighteen months.[75] The background is a plain blue sky, and the two great figures are the centre of a warm and harmonious composition. The window stands well among its fellows as regards colour and design, but does not help us to solve difficult problems connected with Donatello's drawings. Numbers have been attributed to him on insufficient foundation.[76] The fact is that, notwithstanding the explicit statements of Borghini and Vasari that Donatello and Michael Angelo were comparable in draughtsmanship, we have no authenticated work through which to make our inductions. A large and important scene of the Flagellation in the Uffizzi,[77] placed within a complicated architectural framework, and painted in green wash, has some later Renaissance features, but recalls Donatello's compositions. In the same collection are two extremely curious pen-and-ink drawings which give variants of Donatello's tomb of John XXIII. in the Baptistery. The first of them (No. 660) shows the Pope in his tiara, whereas on the tomb this symbol of the Papacy occupies a subordinate place. The Charity below carries children, another variant from the tomb itself. The second study (No. 661) gives the effigy of a bareheaded knight in full armour lying to the left, and the basal figures also differ from those on the actual tomb. These drawings are certainly of the fifteenth century, and even if not directly traceable to Donatello himself, are important from their relation to the great tomb of the Pope, for which Donatello was responsible. But we have no right to say that even these are Donatello's own work. In fact, drawings on paper by Donatello would seem inherently improbable. Although he almost drew in marble when working in _stiacciato_, the lowest kind of relief, he was essentially a modeller, rather than a draughtsman. Leonardo was just the reverse; Michael Angelo was both, but with him sculpture was _the_ art. Donatello had small sense of surface or silhouette, and we would not expect him to commit his ideas to paper, just as Nollekens,[78] who drew so badly that he finally gave up drawing, and limited himself to modelling instead--turning the clay round and round and observing it from different aspects, thus employing a tactile in place of a pictorial medium. Canova also trusted chiefly to the plastic sense to create the form. But Donatello must nevertheless have used pen and ink to sketch the tombs, the galleries, the Roman tabernacle, and similar works. It is unfortunate that none of his studies can be identified. There is, however, one genuine sketch by Donatello, but it is a sketch in clay. The London Panel[79] was made late in life, when Donatello left a considerable share to his assistants. It is therefore a valuable document, showing Donatello's system as regards his own preliminary studies and the amount of finishing he would leave to pupils. We see his astonishing plastic facility, and the ease with which he could improvise by a few curves, depressions and prominences so complex a theme as the Flagellation, or Christ on the Cross. It is a marvel of dexterity.

[Footnote 64: Domopera archives, 12, viii., 1412.]

[Footnote 65: _Ibid._, 31, xii., 1407.]

[Footnote 66: Padua, 3, iv., 1443.]

[Footnote 67: When working at Pisa in 1427. See Centofanti, p. 4.]

[Footnote 68: Commission for bronze Baptist for Ancona, 1422.]

[Footnote 69: Contract in Orvieto archives, 10, ii., 1423.]

[Footnote 70: Domopera, 2, ix., 1429.]

[Footnote 71: _Ibid._ 18, iii., 1426.]

[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 Baldassare 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.]

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 associated 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 space 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 _Terribilità_ of Michael Angelo. Donatello's aptitude for architectural setting is also illustrated 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 passion 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 anticipates 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 Ciuffagni 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 balconà 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.]

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 assumed 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 semée 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'Orléans. 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 classed with the Stryge, or the Etruscan Chimæra as a classic 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 space at his command: his economy of the shield is masterly. It is occupied at every angle, but nowhere crowded. The spaces which are left vacant are deliberately contrived to enhance the effect of the figure. It is the antithesis 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 florencée_. 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.]

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[Sidenote: The Siena Font.]