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Updated: June 14, 2025
Their deed the crime which Donatello wrought, and Miriam accepted on the instant had wreathed itself, as she said, like a serpent, in inextricable links about both their souls, and drew them into one, by its terrible contractile power. It was closer than a marriage bond.
The sudden deaths of Colonel and Judge Pyncheon may have been due to the old wizard's curse that "God would give them blood to drink"; or simply to an inherited tendency to apoplexy. Did Donatello have furry, leaf-shaped ears, or was this merely his companions' teasing?
In order to facilitate the explanation of the problem offered by his early command of style, it has been suggested with great show of reason that he received a strong impression from the work executed in bas-relief by Donatello for the church of S. Antonio at Padua. Thus Florentine influences helped to form even the original genius of this greatest of the Lombard masters.
Her fellow-passenger was in far other excitement; he was to see Hawthorne, and in a manner to meet Priscilla and Zenobia, and Hester Prynne and little Pearl, and Miriam and Hilda, and Hollingsworth and Coverdale, and Chillingworth and Dimmesdale, and Donatello and Kenyon; and he had no heart for any such poor little reality as that, who could not have been got into any story that one could respect, and must have been difficult even in a Heinesque poem.
It appeared to Kenyon that since he last saw Donatello, some of the sweet and delightful characteristics of the antique Faun had returned to him.
He was working in Padua in the middle of the fifteenth century, in rivalry with Squarcione, and in 1453 his daughter Nicolosia married Andrea Mantegna. Thus it happened that both of his sons came under the influence of Mantegna, and evidently, too, of the sculptor Donatello, when working at Padua between 1450 and 1460. Very few authentic pictures by Jacopo are known to us.
The artist pondered long over this expression, for he could not imagine in what could fail the matchless figure. At length, after many years, Michael Angelo, in the noon of his renown, visited the death-bed of his old master. Donatello begged to know, before he died, what was wanting to his St. George.
No previous tradition, unless it was the genius of Greek or Greco-Roman antiquity, supplied Michelangelo with the motive force for this prentice-piece in sculpture. Donatello and other Florentines worked under different sympathies for form, affecting angularity in their treatment of the nude, adhering to literal transcripts from the model or to conventional stylistic schemes.
Hawthorne's Donatello is supposed to belong, in theory at least, to that primitive era; but it is not necessary to go back further than the feudal period to look for a man who never has known a will above his own. Donatello seizes Miriam's tormentor and casts him down the Tarpeian Rock, from the same instinct, or clairvoyant perception, that a hound springs at the throat of his master's enemy.
"Only yesterday," continued Miriam; "nay, only a short half-hour ago, I shivered in an icy solitude. No friendship, no sisterhood, could come near enough to keep the warmth within my heart. In an instant all is changed! There can be no more loneliness!" "None, Miriam!" said Donatello.
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