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Updated: May 27, 2025
It is no empty coincidence that the hillside villages which still supply Florence with stone and with stonemasons should have given their names to three of its greatest sculptors, Mino da Fiesole, Desiderio da Settignano, and Benedetto da Maiano; that Michelangelo should have told Vasari that the chisel and mallet had come to him with the milk of his nurse, a stonecutter's wife from those same slopes, down which jingle to-day the mules carting ready-shaped stone from the quarries.
Whereas in those potations which the mind seems to enjoy, rather than the bodily appetite, there is happily no such satiety; but the more a man drinks, the more he desires; as if, like Mark Anthony in Dryden, his appetite increased with feeding, and this to such an immoderate degree, ut nullus sit desiderio aut pudor aut modus.
His brother Antonio, born in 1427, worked with him at Pistoja certainly in the tomb of Filippo Lazzari in S. Domenico, surpassing him as a sculptor, under the influence of Desiderio da Settignano. His finest work is the beautiful tomb in S. Miniato of the young Cardinal of Portugal, who died on a journey to Florence.
The Louvre and the Kaiser Friedrich Museum in Berlin but particularly the Kaiser Friedrich since Herr Bode, who has such a passion for this period, became its director have priceless treasures, and in Paris I have had the privilege of seeing the little but exquisite collection formed by M. Gustave Dreyfus, dominated by that mirthful Italian child which the Bargello authorities consider to be by Donatello, but Herr Bode gives to Desiderio.
'Quis desiderio sit pudor aut modus Jam cari capitis which means, 'How can I make up my mind to see you go up stairs?" Belle-bouche cast a tender glance at Jacques. Sir Asinus continued: "Yes, yes, I see you pity him. But you should pity me." "Why?" "Your watch-paper you remember; the one which you cut for me?" "Yes."
Bode now gives that charming example to Donatello's pupil Desiderio; and various other masterpieces elsewhere. But it is the originals that chiefly interest us, and first of these in bronze is the David, of which I have already spoken, and first of these in marble the S. George. This George is just such a resolute, clean, warlike idealist as one dreams him.
Perhaps the greatest of these sculptors in marble, whose works, as winsome as wild flowers, are scattered over the Tuscan hills, was Desiderio da Settignano, born in 1428. He had worked with Donatello in the Pazzi Chapel, and his tabernacle in the chapel of the Blessed Sacrament in S. Lorenzo is one of the most charming things left in that museum of Tuscan work.
It is fitting that Desiderio should be here, for he was Donatello's favourite pupil. The S. Lorenzo ciborium is wholly charming, although there is a "Deposition" upon it; the little Boy is adorable; but one sees it with the greatest difficulty owing to the crowded state of the altar and the dim light. There is nice colour in the predella.
This church is usually locked, but the key is next door, on the right, and it has to be obtained because over the right sacristy door is a boy's head by Rossellino, and over the left a boy's head by Desiderio da Settignano, and each is joyful and perfect.
There is, above all, the Carlo Marsuppini of Desiderio da Settignano, the humanist Secretary of the Commonwealth, lying on the sarcophagus, superb with shell fretwork and curling acanthus, in Santa Croce of Florence.
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