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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.
When they are it is safe to assume that the work they equally admire is truly great that it belongs to the highest order of noble works of art. The main objection to it has been that it is not sufficiently "monumental," and, indeed, it has not the massiveness nor the repose of such a work as Donatello's "Gattamelata," the greatest of all equestrian statues.
Thus Gattamelata, Colleoni, and Francesco Sforza would, through their statues, have marked three distinct phases in the growth of art. The final effort of Italian sculpture to express human activity in the person of a mounted warrior has perished. In this sphere we possess nothing which, like the tombs of S. Lorenzo in relation to sepulchral statuary, completes a series of development.
To enable himself to retain the government, he applied for assistance to Filippo; and the pope, to avenge himself for the injury, sought the aid of the Venetians and Florentines. Both parties obtained assistance, so that very soon two large armies were on foot in Romagna. Niccolo Piccinino commanded for the duke, Gattamelata and Niccolo da Tolentino for the Venetians and Florentines.
To Verocchio, profiting by the example of Donatello's "Gattamelata," must be assigned the general conception of this statue; but the breath of life that animates both horse and rider, the richness of detail that enhances the massive grandeur of the group, and the fiery spirit of its style of execution were due to the Venetian genius of Leopardi.
Long ago I expressed my conviction that the "Sherman Monument" is third in rank of the great equestrian statues of the world. To-day I am not sure that that conviction remains unaltered. Donatello's "Gattamelata" is unapproached and unapproachable in its quiet dignity; Verrocchio's "Colleone" is unsurpassed in picturesque attractiveness. Both are consecrated by the admiration of centuries.
On the place which adjoins the cathedral, a beautiful equestrian statue by Donatello, in bronze, rises to view, the first which had been cast since the days of antiquity, representing a leader of banditti: Gattamelata, a brigand who surely did not deserve that honor.
Neither the count nor the Florentines believed him, but thought, with reason, that these enterprises had been carried on to keep them at bay, till he had subdued the Venetians, who, being full of pride, and thinking themselves able alone to resist the duke, had not deigned to ask for any assistance, but carried on the war under their captain, Gattamelata.
Erasmo da Narni, better known as Gattamelata, was now his general-in-chief a man who had risen from the lowest fortunes to one of the most splendid military positions in Italy. Colleoni spent the next years of his life, until 1443, in Lombardy, manoeuvring against Il Piccinino, and gradually rising in the Venetian service, until his condotta reached the number of eight hundred men.
To this end he induced the Venetians to recall the forces they had in Tuscany, in the Florentine service, and to order that to succeed Gattamelata, who was dead, Micheletto Attendulo should take the command.
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