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Almost everything of Donatello's that one sees is in turn the best; but standing before this lovely work one is more than commonly conscious of being in the presence of a wonderful creator. The Virgin is wholly unlike any other woman, and She is surprising and modern even for Donatello with his vast range.
There the Paduans held their masques and holiday-shows; there rose the mighty castle that was stormed on a feast-day by armed men with missiles of oranges and pomegranates; there stalked Donatello's mighty wooden horse, towering high above the crowd in the Carnival cavalcades; there, after Ezzelin the Terrible had for years enriched the ground with Paduan blood and hung the Paduan bodies high on gibbets, the freed and happy people celebrated the expulsion of the tyrant by instituting the famous horse-races, in which the prizes were scarlet cloth and gloves and a sparrow-hawk.
"Ah! here comes Monsieur Dechartre," said the good Madame Marmet. He had looked for them in the church, before the tabernacle. He should have recalled the irresistible attraction which Donatello's St. George held for Miss Bell. He too admired that famous figure. But he retained a particular friendship for St. Mark, rustic and frank, whom they could see in his niche at the left.
She spoke sympathizingly to the sculptor on the subject of Hilda's absence, and somewhat annoyed him by alluding in Donatello's hearing to an attachment which had never been openly avowed, though perhaps plainly enough betrayed.
The pulpit a fine specimen of fifteenth-century sculpture, carved by Benedetto da Maiano at the cost of Pietro Mellini, who presented it to the church is well worth close inspection; and close by, between the tombs of Lanzi and Leonardo Bruni, is a group in freestone, representing the Annunciation. This was one of the first of Donatello's works, and gave an earnest of his future genius.
A short way with Veronese critics Giotto's missing spire Donatello's holy men Giotto as encyclopaedist The seven and twenty reliefs Ruskin in American At the top of the tower A sea of red roofs The restful Baptistery Historic stones An ex-Pope's tomb Andrea Pisano's doors Ghiberti's first doors Ghiberti's second doors Michelangelo's praise A gentleman artist.
In addition to originals there are at South Kensington casts of many of the Bargello's most valuable possessions, such as Donatello's and Verrocchio's Davids, Donatello's Baptist and many heads, Mino da Fiesole's best Madonna, Pollaiuolo's Young Warrior, and so forth; so that to loiter there is most attractively to recapture something of the Florentine feeling. S. Croce
And then in the portrait busts the young Gattemalata, and the terra-cotta of Niccolò da Uzzano, we may see Donatello's devotion to mere truthfulness without an afterthought, as though for him Truth were beauty in its loyalty, at any rate, to the impression of a moment that for the artist is eternity.
Mino, it must be remembered, was Desiderio's pupil, as Desiderio was Donatello's. Never can a few strokes of the chisel have had so transforming an effect. There is some doubt as to whether the boys are just where the sculptor set them, and the upper ones with their garlands are thought to be a later addition; but we are never likely to know.
These sketches had a most disagreeable effect on Donatello's peculiar temperament. He gave a shudder; his face assumed a look of trouble, fear, and disgust; he snatched up one sketch after another, as if about to tear it in pieces. Finally, shoving away the pile of drawings, he shrank back from the table and clasped his hands over his eyes.
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