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Donatello saw beneath him the whole circuit of the enchanted ground; the statues and columns pointing upward from among the shrubbery, the fountains flashing in the sunlight, the paths winding hither and thither, and continually finding out some nook of new and ancient pleasantness. He saw the villa, too, with its marble front incrusted all over with basreliefs, and statues in its many niches.
When Donatello returned about a year later to Florence to work for the Opera del Duomo, it is not any classic influence we find in his statues, but rather the study of nature, an extraordinary desire to express not beauty, scarcely ever that, but character.
Philip, the delightful relief under the St. George of Donatello, the Four Saints, which seem to us so full of the remembrance of antiquity, and the S. Eligius with its beautiful drapery, a little stupid still, or sleepy is it, with the mystery of the Middle Age that after all was but just passing away. Something of this sleepiness seems also to have overtaken the St.
The later influence visible in the above-mentioned "Flagellation," as throughout all his work, is that of Antonio Pollaiuolo. To him and to Donatello are due the most important features in his artistic development, and in technique he follows much more readily than the Umbrian, the Florentine methods, with which his painting has nearly everything in common.
On his part, Kenyon at once knew the face, and hastened to the carriage, which had now stopped. "Miriam! you in Rome?" he exclaimed "And your friends know nothing of it?" "Is all well with you?" she asked. This inquiry, in the identical words which Donatello had so recently addressed to him from beneath the penitent's mask, startled the sculptor.
The door of the little courtyard was partly shut; but I pushed it open, and saw you within, and Donatello, and a third person, whom I had before noticed in the shadow of a niche. He approached you, Miriam. You knelt to him! I saw Donatello spring upon him! I would have shrieked, but my throat was dry. I would have rushed forward, but my limbs seemed rooted to the earth.
The Florentine envoys to France had already written in June 1501 from Lyons, saying that Pierre de Rohan, Maréchal de Gié, who stood high in favour at the court of Louis XII., greatly desired a copy of the bronze David by Donatello in the courtyard of the Palazzo Vecchio. He appeared willing to pay for it, but the envoys thought that he expected to have it as a present.
Looking round, she perceived that all her company of merry friends had retired, and Hilda, too, in whose soft and quiet presence she had always an indescribable feeling of security. All gone; and only herself and Donatello left hanging over the brow of the ominous precipice. Not so, however; not entirely alone!
He goes on to say that Nanni was the pupil of Donatello, and though in any technical sense that seems to be untrue, it may well be that he sought Donato's advice whenever he could, for he seems to have practised his art for love of it, and may well have recognised the genius of Donatello, who probably worked beside him. He too worked at Or San Michele, where he carved the St.
But, in Miriam's eyes, Donatello was always, thenceforth, invested with the tragic dignity of their hour of crime; and, furthermore, the keen and deep insight, with which her love endowed her, enabled her to know him far better than he could be known by ordinary observation. Beyond all question, since she loved him so, there was a force in Donatello worthy of her respect and love.
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