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Niccola Pisano Obscurity of the Sources for a History of Early Italian Sculpture Vasari's Legend of Pisano Deposition from the Cross at Lucca Study of Nature and the Antique Sarcophagus at Pisa Pisan Pulpit Niccola's School Giovanni Pisano Pulpit in S. Andrea at Pistoja Fragments of his work at Pisa Tomb of Benedict XI. at Perugia Bas-reliefs at Orvieto Andrea Pisano Relation of Sculpture to Painting Giotto Subordination of Sculpture to Architecture in Italy Pisano's Influence in Venice Balduccio of Pisa Orcagna The Tabernacle of Orsammichele The Gates of the Florentine Baptistery Competition of Ghiberti, Brunelleschi, and Della Quercia Comparison of Ghiberti's and Brunelleschi's Trial-pieces Comparison of Ghiberti and Della Quercia The Bas-reliefs of S. Petronio Ghiberti's Education His Pictorial Style in Bas-relief His Feeling for the Antique Donatello Early Visit to Rome Christian Subjects Realistic Treatment S. George and David Judith Equestrian Statue of Gattamelata Influence of Donatello's Naturalism Andrea Verocchio His David Statue of Colleoni Alessandro Leopardi Lionardo's Statue of Francesco Sforza The Pollajuoli Tombs of Sixtus IV. and Innocent VIII. Luca della Robbia His Treatment of Glazed Earthenware Agostino di Duccio The Oratory of S. Bernardino at Perugia Antonio Rossellino Matteo Civitali Mino da Fiesole Benedetto da Majano Characteristics and Masterpieces of this Group Sepulchral Monuments Andrea Contucci's Tombs in S. Maria del Popolo Desiderio da Settignano Sculpture in S. Francesco at Rimini Venetian Sculpture Verona Guido Mazzoni of Modena Certosa of Pavia Colleoni Chapel at Bergamo Sansovino at Venice Pagan Sculpture Michael Angelo's Scholars Baccio Bandinelli Bartolommeo Ammanati Cellini Gian Bologna Survey of the History of Renaissance Sculpture.
But his greatest claim to distinction is his psychological insight allied to perfect mastery of form. Here in the Bargello, in originals and in casts, he may be adequately appreciated; but to Padua his admirers must certainly go, for the bronze equestrian statue of Gattamelata is there. Donatello was painted by his friend Masaccio at the Carmine, but the fresco has perished.
First, the statue of Gattamelata, a Venetian general, by Donatello. The original is in Padua. Then there is the figure of Bartolommeo Colleoni. The original is in Venice. It is by Verrocchio and Leopardi. These equestrians radiate authority. There is more action in them than in any cowboy hordes I have ever beheld zipping across the screen.
Erasmo da Narni, better known as Gattamelata, was now his general-in-chief a man who had risen from the lowest fortunes to one of the most splendid military positions in Italy. Colleoni spent the next years of his life, until 1443, in Lombardy, manoeuvring against Il Piccinino, and gradually rising in the Venetian service, until his Condotta reached the number of 800 men.
Gattamelata, who began life as a baker's boy at Narni and ended it with a bronze statue by Donatello on the public square in Padua, was of this breed. Like this were the Trinci and their bands of murderers. Like this were the bravi who hunted Lorenzaccio to death at Venice.
Of men like this, then, were formed the Companies of Adventure who flooded Italy with villany, ambition, and lawlessness in the fifteenth century. Gattamelata, who began life as a baker's boy at Narni and ended it with a bronze statue by Donatello on the public square in Padua, was of this breed. Like this were the Trinci and their bands of murderers.
The inner walls are adorned with frescoes. At the end of the hall is a gigantic wooden horse, built in sections, supposed to have been the model of Donatello for his bronze statue of Gattamelata, or one of the horses of St Mark's at Venice. At one time it was covered with skin to resemble life.
To that city he was called in 1451, in order that he might model the equestrian statue of Gattamelata. It still stands on the Piazza, a masterpiece of scientific bronze-founding, the first great portrait of a general on horseback since the days of Rome.
It is old Gattamelata, the condottiere of the Venetian forces in the long wars with Padua. His body lies within the church, and his effigy is the work of one Donatello, famous in Tuscan art. We followed the crowd along the white-walled street to the great market-square the people call the Prato della Valle.
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