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Updated: June 15, 2025
John of Donatello's. The girl returned his look with one of her clear glances, and the group having presently broken up again, Mrs. Peyton saw that she had drifted to Darrow's side. The visitors at length wandered back to the work-room to see a portfolio of Dick's water-colours; but Mrs.
But that simple and joyous creature was gone forever. "What have you done?" said Miriam, in a horror-stricken whisper. The glow of rage was still lurid on Donatello's face, and now flashed out again from his eyes. "I did what ought to be done to a traitor!" he replied. "I did what your eyes bade me do, when I asked them with mine, as I held the wretch over the precipice!"
After the Della Robbias, this is the place to mention Agostino di Gucci or di Duccio, a sculptor who handled terra-cotta somewhat in the manner of Donatello's flat-relief, introducing more richness of detail and aiming at more passion than Luca's taste permitted.
I see them both but particularly perhaps Verrocchio's in the intervals of strife most acceptably holding up a lady's train, or lying at her feet reading one of Boccaccio's stories; neither could ever have watched a flock. Donatello's second David, behind the more famous one, has more reality; but I would put Michelangelo's smaller one first. And what beautiful marble it is so rich and warm!
More perfect in craftsmanship and in the knowledge of anatomy than Donatello, Verrocchio here, where he seems almost to have been inspired by the David of his master, surpasses him in energy and beauty, and while Donatello's figure is involved with the head of Goliath, so that the feet are lost in the massive and almost shapeless bronze, Verrocchio's David stands clear of the grim and monstrous thing at his feet.
The chapels in the left transept are less interesting, except perhaps to students of painting in its early days. In the chapel at the end we find Donatello's wooden crucifix which led to that friendly rivalry on the part of Brunelleschi, the story of which is one of the best in all Vasari.
Donatello is the greatest artist here, and it was for the Armourers that he made his S. George, which stands now, as he carved it in marble, in the Bargello, but has a bronze substitute in its original niche, below which is a relief of the slaying of the dragon from Donatello's chisel. Of this glorious S. George more will be said later.
In the eighteen-sixties died a Signor Lombardi, who owned certain reliefs which he believed to be Donatello's. One's impulse is not to look at this encroaching piece of novelty at all; but one should resist that feeling, because, on examination, the Madonna and Children above Signor Lombardi's head become exceedingly interesting.
The former reminds us of Donatello's S. George; the latter is twisted into a strained attitude, full of character, but lacking grace.
One point which both Donatello's and Verrocchio's David emphasizes is the gulf that was fixed between the Biblical and religious conception of the youthful psalmist and that of these sculptors of the Renaissance. One can, indeed, never think of Donatello as a religious artist.
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