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Updated: June 15, 2025
The two owls in the chamber beneath Donatello's uttered their soft melancholy cry, which, with national avoidance of harsh sounds, Italian owls substitute for the hoot of their kindred in other countries, and flew darkling forth among the shrubbery.
We can believe that Luca's children hymn the glory of the Lord, as indeed the inscription makes them, whereas Donatello's romp with a gladness that might easily be purely pagan. Luca's design is more formal, more conventional; Donatello's is rich and free and fluid with personality.
Those of fourteen or fifteen have deplorably thin arms, and still such terrible calves; and a stomach telling of childish gigantic meals; but they have the pert, humorous frankness of Verrocchio's David, who certainly flung a jest at Goliath's unwieldy person together with his stone; or the delicate, sentimental pretty woman's grace of Donatello's St.
And yet Donatello's heart was so fresh a fountain, that, had Miriam been more world-worn than she was, she might have found it exquisite to slake her thirst with the feelings that welled up and brimmed over from it. She was far, very far, from the dusty mediaeval epoch, when some women have a taste for such refreshment.
But, if otherwise, a wish almost an unuttered wish will bring me to you!" She stood a moment, expecting a reply. But Donatello's eyes had again fallen on the ground, and he had not, in his bewildered mind and overburdened heart, a word to respond. "That hour I speak of may never come," said Miriam. "So farewell farewell forever." "Farewell," said Donatello.
Had Hilda, or had Miriam, seen the bust, with the expression which it had now assumed, they might have recognized Donatello's face as they beheld it at that terrible moment when he held his victim over the edge of the precipice. "What have I done?" said the sculptor, shocked at his own casual production. "It were a sin to let the clay which bears your features harden into a look like that.
Donatello's influence on the boy held long enough for him to make the low relief of the Madonna, much in his style, which is now preserved in the Casa Buonarroti, while the plaque of the battle of the Centaurs and Lapithae which is also there shows Bertoldo's influence. The boy's first encounter with Lorenzo occurred while he was modelling the head of an aged faun.
One is apt to forget that in our day the minds that correspond with the artistic miracles of the Renaissance are absorbed in quite different departments of effort. M. Mercié's "David" would perhaps never have existed but for Donatello's.
This wholly charming boy, a little nearer life perhaps than Donatello's, although not quite so radiantly distinguished, illustrates the association of Verrocchio and Leonardo as clearly as any of the paintings do; for the head is sheer Leonardo.
The same power of expressing Christian sentiment in a form of perfect beauty, transcending the Greek type by profounder suggestion of feeling, is illustrated in the well-known low-relief of an angel's head in profile, technically one of Donatello's most masterly productions.
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