LITMIR.BIZ

Скачать книгу

in the round that support the sarcophagus with their heads, and on the sarcophagus itself is a scene in low-relief, so beautiful that it commands infinite praise. In the house of the Count of Matalone, in the same city, there is the head of a horse by the hand of Donato, so beautiful that many take it for an antique. In the township of Prato he wrought the marble pulpit where the Girdle is shown, in which, in several compartments, he carved a dance of children so beautiful and so admirable, that he may be said to have demonstrated the perfection of his art no less in this work than in his others. To support this pulpit, moreover, he made two capitals of bronze, one of which is still there, while the other was carried away by the Spaniards who sacked that district.

       GENERAL GATTAMELATA (After the bronze by Donatello. Padua: Piazzo di S. Antonio) Anderson View larger image

      It came to pass about this time that the Signoria of Venice, hearing of his fame, sent for him to the end that he might make the monument of Gattamelata in the city of Padua; wherefore he went there right willingly and made the bronze horse that is on the Piazza di S. Antonio, wherein are perceived the panting and neighing of the horse, with great spirit and pride, most vividly expressed by his art, in the figure of the rider. And Donato proved himself such a master in the proportions and excellence of so great a casting, that he can truly bear comparison with any ancient craftsman in movement, design, art, proportion, and diligence; wherefore it not only astonished all who saw it then, but continues to astonish every person who sees it at the present day. The Paduans, moved by this, did their utmost to make him their fellow-citizen, and sought to detain him with every sort of endearment. In order to keep him in their midst, they commissioned him to make the stories of S. Anthony of Padua on the predella of the high-altar in the Church of the Friars Minor, which are in low-relief, wrought with so great judgment, that the most excellent masters of that art stand marvelling and amazed before them, as they consider their beautiful and varied compositions, with the great abundance of extraordinary figures and diminishing perspectives. Very beautiful, likewise, are the Maries that he made on the altar-dossal, lamenting the Dead Christ. In the house of one of the Counts Capodilista he wrought the skeleton of a horse in wood, which is still to be seen to-day without the neck; wherein the various parts are joined together with so much method, that, if one considers the manner of this work, one can judge of the ingenuity of his brain and the greatness of his mind. In a convent of nuns he made a S. Sebastian in wood at the request of a chaplain, a Florentine, who was their friend and an intimate of his own. This man brought him a figure of that Saint that they had, old and clumsy, beseeching him to make the new one like it. Wherefore Donato strove to imitate it in order to please the chaplain and the nuns, but, although he imitated it, clumsy as it was, he could not help showing in his own the usual excellence of his art. Together with this figure he made many others in clay and in stucco, and on one end of an old piece of marble that the said nuns had in their garden he carved a very beautiful Madonna. Throughout that whole city, likewise, there are innumerable works by his hand, by reason of which he was held by the Paduans to be a marvel and was praised by every man of understanding; but he determined to return to Florence, saying that if he remained any longer in Padua he would forget everything that he knew, being so greatly praised there by all, and that he was glad to return to his own country, where he would gain nothing but censure, since such censure would urge him to study and would enable him to attain to greater glory. Having departed from Padua, therefore, he returned by way of Venice, where, as a mark of his friendliness towards the Florentine people, he made them a present of a S. John the Baptist, wrought by him in wood with very great diligence and study, for their chapel in the Church of the Friars Minor. In the city of Faenza he carved a S. John and a S. Jerome in wood, which are no less esteemed than his other works.

      Afterwards, having returned to Tuscany, he made a marble tomb, with a very beautiful scene, in the Pieve of Montepulciano, and a lavatory of marble, on which Andrea Verrocchio also worked, in the Sacristy of S. Lorenzo in Florence; and in the house of Lorenzo della Stufa he wrought some heads and figures that are very spirited and vivacious. Then, departing from Florence, he betook himself to Rome, in order to try to imitate the antiques to the best of his ability; and during this time, while studying these, he made a tabernacle of the Sacrament in stone, which is to be seen in S. Pietro at the present day. Passing through Siena on his way back to Florence, he undertook to make a door of bronze for the Baptistery of S. Giovanni; and he had already made the wooden model, and the wax moulds were almost finished and successfully covered with the outer mould, ready for the casting, when there arrived, on his way back from Rome, one Bernardetto di Mona Papera, a Florentine goldsmith and an intimate friend of Donato, who wrought upon him so strongly both with words and in other ways, either for some business of his own or for some other reason, that he brought him back to Florence; wherefore that work remained unfinished, nay, not begun. There only remained in the Office of Works of the Duomo in that city a S. John the Baptist in bronze by his hand, with the right arm missing from the elbow downwards; and this Donato is said to have done because he had not been paid in full.

       MADONNA AND CHILD (After the bronze by Donatello. Padua: S. Antonio) Anderson View larger image

Having returned to Florence, therefore, he wrought the Sacristy of S. Lorenzo in stucco for Cosimo de' Medici, making four medallions on the pendentives of the vault containing stories of the Evangelists, with grounds in perspective, partly painted and partly in low-relief. And in the said place he made two very beautiful little doors of bronze in low-relief, with the Apostles, Martyrs, and Confessors; and above these he made some flat niches, one containing a S. Laurence and a S. Stephen, and the other S. Cosimo and S. Damiano. In the transept of the church he executed four saints in stucco, each five braccia high, which are wrought in a masterly manner. He also designed the bronze pulpits that contain the Passion of Christ, a work displaying design, force, invention, and an abundance of figures and buildings; but these his old age prevented him from executing, and his pupil Bertoldo finished them and brought them to the utmost perfection. For S. Maria del Fiore he made two colossal figures of brick and stucco, which are placed by way of ornament without the church, at the corners of the chapels. Over the door of S. Croce there is still to be seen a S. Louis wrought by him in bronze, five braccia high; for this someone criticized him, saying that it was stupid and perhaps the least excellent work that he had ever made, and he answered that he had made it so of set purpose, seeing that the Saint had been stupid to give up his throne and become a monk. The same man made the head of the wife of the said Cosimo de' Medici in bronze, and this head is preserved in the guardaroba of the Lord Duke Cosimo, wherein there are many other works in bronze and marble by the hand of Donato; among others, a Madonna with the Child in her arms, sunk in the marble in flat-relief, which is the most beautiful work that it is possible to see, and the rather as it is surrounded by a border of scenes done in miniature by Fra Bartolommeo,[22] which are admirable, as it will be told in the proper place. The said Lord Duke has a very beautiful, nay, miraculous Crucifix in bronze, by the hand of Donato, in his study, wherein there are innumerable rare antiquities and most beautiful medals. In the same guardaroba there is a bronze panel containing the Passion of Our Lord in low-relief, with a great number of figures; and in another panel, also in metal, there is another Crucifixion. In like manner, in the house of the heirs of Jacopo Capponi, who was an excellent citizen and a true gentleman, there is a marble panel with the Madonna in half-relief, which is held to be a very rare work. Messer Antonio de' Nobili, who was Treasurer to his Excellency, had in his house a marble panel by the hand of Donato, in which there is a half-length Madonna in low-relief, so beautiful that the said Messer Antonio valued it as much as all his possessions; nor is it less valued by his son Giulio, a youth of singular goodness and judgment, a friend to lovers of art and to all men of excellence. In the house of Giovan Battista d'Agnol Doni, a gentleman of Florence, there is a Mercury of metal in the round by the hand of Donato, one braccio and a half in height and clothed in a certain bizarre manner; which work is truly very beautiful, and no less rare than the others that adorn his most beautiful house. Bartolommeo Gondi, of whom we have spoken in the Life of Giotto, has a Madonna in half-relief by the hand of Donato, wrought with so great love and diligence that it is not possible

Скачать книгу