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Updated: June 15, 2025
It soon becomes evident, however, that Michelangelo was not destined to remain a continuator of Donatello's manner or a disciple of the classics. The next period, which includes the Madonna della Febbre, the Bruges Madonna, the Bacchus, the Cupid, and the David, is marked by an intense search after the truth of Nature.
Plastic art Blood-soaked stones The faithful artists Michelangelo Italian custodians The famous Davids Michelangelo's tondo Brutus Benedetto da Rovezzano Donatello's life-work The S. George Verrocchio Ghiberti and Brunelleschi and the Baptistery doors Benvenuto Cellini John of Bologna Antonio Pollaiuolo Verrocchio again Mino da Fiesole The Florentine wealth of sculpture Beautiful ladies The della Robbias South Kensington and the Louvre.
Traces of Donatello's influence survive in the treatment of the long large hands of David, the cast of features selected for that statue, and the working of the feet. Indeed it may be said that Donatello continued through life to affect the genius of Michelangelo by a kind of sympathy, although the elder master's naïveté was soon discarded by the younger.
The Scoppio del Carro The Pazzi beneficent Holy Saturday's programme April 6th, 1912 The flying palle The nervous pyrotechnist The influence of noon A little sister of the Duomo Donatello's cantoria Luca della Robbia's cantoria.
"The pope's blessing, methinks, has fallen upon you," observed the sculptor, looking at his friend. In truth, Donatello's countenance indicated a healthier spirit than while he was brooding in his melancholy tower.
Donatello has been puritanized, and though the character may be a perfect symbolic type, it has nothing racial in it; and to be racial was Donatello's charm. It is the same wherever the story is taken up; it is charming as an artistic work, but when one begins to think about it, the method of approach is proved to be wrong because it solves nothing and ends in futility.
I know that, if I entered it, I should be sure of finding the great hall of the palace the vastest hall in the world dim and dull and dusty and delightful, with nothing in it except at one end Donatello's colossal marble-headed wooden horse of Troy, stared at from the other end by the two dog-faced Egyptian women in basalt placed there by Belzoni.
Besides the above there was a herdsman or two from the Campagna, and a few peasants in sky-blue jackets, and small-clothes tied with ribbons at the knees; haggard and sallow were these last, poor serfs, having little to eat and nothing but the malaria to breathe; but still they plucked up a momentary spirit and joined hands in Donatello's dance.
In Donatello's case, it was pitiful, and almost ludicrous, to observe the confused struggle that he made; how completely he was taken by surprise; how ill-prepared he stood, on this old battlefield of the world, to fight with such an inevitable foe as mortal calamity, and sin for its stronger ally. "And yet," thought Kenyon, "the poor fellow bears himself like a hero, too!
The iron rope work that divides the sacristy from the chapel is a marvel of workmanship. But we go too fast: the church before the sacristy, and the glories of the church are Donatello's. We have seen his cantoria in the Museum of the Cathedral. Here is another, not so riotous and jocund in spirit, but in its own way hardly less satisfying.
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