Donatello, by Lord Balcarres

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Transcriber's note:

In the original text the name "Verrocchio" is, except for one instance, misspelled as "Verrochio"; the name "Buonarroti" is twice misspelled as "Buonarotti"; the name "Orcagna" is once misspelled as "Orcagra"; and the name "Vasari" is once misspelled as "Vassari." These have been corrected in this e-text.

Variants, archaic forms, or Anglicizations of other names (e.g., "Michael Angelo" for "Michelangelo"; "Or San Michele" for "Orsanmichele"; "Brunellesco" for "Brunelleschi") have been retained as they appear in the original.

Characters with macrons are indicated in brackets, e.g. [=U].

Characters following a caret character are superscripted, e.g. M^a.

DONATELLO

by

LORD BALCARRES

[Illustration: Alinari

CHRIST ON THE CROSS

SANT' ANTONIO, PADUA]

[Illustration: DESORMAIS]

London: Duckworth and Co. New York: Charles Scribner's Sons 1903 All rights reserved Printed by Ballantyne, Hanson & Co. at the Ballantyne Press

PREFACE

An attempt is made in the following pages to determine the position and character of Donatello's art in relation to that of his contemporaries and successors. The subject must be familiar to many who have visited Florence, but no critical work on the subject has been published in English. I have therefore quoted as many authorities as possible in order to assist those who may wish to look further into problems which are still unsettled. Most of the books to which reference is made can be consulted in the Art Library at South Kensington, and in the British Museum. Foreign critics have written a good deal about Donatello from varied, if somewhat limited aspects. Dr. Bode's researches are, as a rule, illustrative of the works of art in the Berlin Museum. The main object of Dr. Semper was to collect documentary evidence about the earlier part of Donatello's life; Gloria and Gonzati have made researches into the Paduan period; Lusini confines his attention to Siena, Centofanti to Pisa; M. Reymond and Eugene Muentz are more comprehensive in their treatment of the subject.

With eleven or twelve exceptions I have seen the original of every existing piece of sculpture, architecture and painting mentioned in this book. I regret, however, that among the exceptions should be a work by Donatello himself, namely, the Salome relief at Lille--my visits to that town having unfortunately coincided with public holidays, when the gallery was closed. I must express my thanks to the officials of Museums, as well as to private collectors all over Europe, for unfailing courtesy and assistance. I have also to acknowledge my indebtedness to the invaluable advice of Mr. S. Arthur Strong, Librarian of the House of Lords.

21.vi.1903

CONTENTS

PAGE

INTRODUCTION 1

COMPETITION FOR THE BAPTISTERY GATES 2

FIRST JOURNEY TO ROME 3

THE PREDECESSORS OF DONATELLO 5

FIRST WORK FOR THE CATHEDRAL 7

THE CATHEDRAL FACADE 8

THE DANIEL AND POGGIO 10

ST. JOHN THE EVANGELIST AND THE MARBLE DAVID 14

STATUES OF THE CAMPANILE 17

ST. JOHN THE BAPTIST 18

JEREMIAH AND THE CANON OF ART 20

HABAKKUK AND THE SENSE OF DISTANCE 23

THE ZUCCONE, "REALISM" AND NATURE 26

THE ZUCCONE AND THE SENSE OF LIGHT AND SHADE 29

ABRAHAM AND THE SENSE OF PROPORTION 30

DRAPERY AND HANDS 31