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Updated: May 24, 2025
Matthew of Bernardo Ciuffagni, which were to stand beside it and are now placed in a good light in the nave, while the work of Donatello is almost invisible in this dark apsidal chapel. Of the other works which Donatello made for the Opera del Duomo, the David is in the Bargello, while the Jeremiah, and Habbakuk, the so-called Zuccone, the Abraham, and St. John Baptist are still on the Campanile.
We may hazard the opinion that, besides Bernardo Ciuffagni, of whom Vasari speaks, some pupils of Donatello and Benedetto da Majano worked at it. The influence of the sculptors of Florence is everywhere perceptible. Whatever be the merit of these reliefs, there is no doubt that they fairly represent one of the most interesting moments in the history of modern art.
Even at Rimini we cannot account for the carvings in low relief, so fanciful, so delicately wrought, and so profusely scattered over the side chapels of S. Francesco, without the intervention of two Florentines, Bernardo Ciuffagni and Donatello's pupil Simone; while in the palace of Urbino we trace some hand not unlike that of Mino da Fiesole at work upon the mouldings of door and architrave, cornice and high-built chimney.
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