DONATELLO

 

BY LORD BALCARRES

 

 

LONDON: DUCKWORTH AND CO.
NEW YORK: CHARLES SCRIBNER'S SONS
1903

All rights reserved

Printed by Ballantyne, Hanson & Co.
At the Ballantyne Press

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Alinari

CHRIST ON THE CROSS

SANT' ANTONIO, PADUA

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PREFACE

An attempt is made in the following pages to determine the position and character of Donatello's art in relation to that of his contemporaries and successors. The subject must be familiar to many who have visited Florence, but no critical work on the subject has been published in English. I have therefore quoted as many authorities as possible in order to assist those who may wish to look further into problems which are still unsettled. Most of the books to which reference is made can be consulted in the Art Library at South Kensington, and in the British Museum. Foreign critics have written a good deal about Donatello from varied, if somewhat limited aspects. Dr. Bode's researches are, as a rule, illustrative of the works of art in the Berlin Museum. The main object of Dr. Semper was to collect documentary evidence about the earlier part of Donatello's life; Gloria and Gonzati have made researches into the Paduan period; Lusini confines his attention to Siena, Centofanti to Pisa; M. Reymond and Eugène Müntz are more comprehensive in their treatment of the subject.

With eleven or twelve exceptions I have seen the original of every existing piece of sculpture, architecture and painting mentioned in this book. I regret, however, that among the exceptions should be a work by Donatello himself, namely, the Salome relief at Lille—my visits to that town having unfortunately coincided with public holidays, when the gallery was closed. I must express my thanks to the officials of Museums, as well as to private collectors all over Europe, for unfailing courtesy and assistance. I have also to acknowledge my indebtedness to the invaluable advice of Mr. S. Arthur Strong, Librarian of the House of Lords.

21.vi.1903

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CONTENTS

 

St. George 39 Donatello and Gothic Art 42 The Crucifix and Annunciation 47 Martelli, David, and Donatello's Technique 52 Early Figures of St. John 56 Donatello as Architect and Painter 59 The Siena Font 70 Michelozzo and the Coscia Tomb 72 The Aragazzi Tomb 76 The Brancacci Tomb 77 Stiacciato 80 Tombs of Pecci, Crivelli, and Others 82 The Second Visit to Rome 88 Work at Rome 94 The Medici Medallions 97 The Bronze David 99 Donatello and Childhood 103 The Cantoria 107 The Prato Pulpit 109 Other Children by Donatello 113 Boys' Busts 116 Niccolò da Uzzano and Polychromacy 121 Portrait-busts 125 Relief-portraits 131 San Lorenzo 133 The Bronze Doors 135 The Judith 140 The Magdalen and similar Statues 144 The Altar at Padua 149 The Large Statues 152 The Bronze Reliefs 156 The Symbols of the Evangelists

href="@public@vhost@g@gutenberg@html@files@18099@[email protected]#Page_161" class="pginternal" tag="{http://www.w3.org/1999/xhtml}a">161 The Choir of Angels 163 The Pietà and the Entombment 164 Donatello's Assistants 167 Bellano and the Gattamelata Tombs 170 Gattamelata 173 Smaller Reliefs and Plaquettes 176 The Madonnas 179 The Pulpits of San Lorenzo 186 Donatello's Influence on Sculpture 190 Early Criticism of Donatello 193 Character and Personality of Donatello 194 Appendix I 199 Appendix II 201 Appendix III 204 Index 207

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ILLUSTRATIONS

 

align="left">San Giovannino " 56 St. John Baptist, Marble " 58 Clay Sketch of Crucifixion and Flagellation " 62 Niche of Or San Michele " 64 The Marzocco " 66 The Martelli Shield " 68 Salome Relief, Siena " 70 Tomb of Coscia, Pope John XXIII. " 72 Effigy of Pope John XXIII. " 74 Tomb of Cardinal Brancacci " 78 Tomb Plate of Bishop Pecci " 86 Tabernacle " 94 The Charge to Peter " 96 The Bronze David " 100 Cantoria " 106 Cantoria (Detail) " 108 The Prato Pulpit " 110 Bronze Amorino " 114 San Giovannino " 118 Niccolò da Uzzano " 122 Bronze Doors " 136 Judith " 140 St. Mary Magdalen " 144 St. John the Baptist " 146 Saint Francis, the Madonna, and Saint Anthony " 152 Miracle of the Speaking Babe " 156 Miracle of the Miser's Heart " 158 Miracle of the Mule " 160 Symbol of St. Matthew " 162 Choristers " 164 Choristers " 164 Christ Mourned by Angels

align="center">" 166 Super Altar by Giovanni da Pisa " 168 Tomb of Giovanni, Son of General Gattamelata " 170 Tomb of General Gattamelata " 172 Shrine of St. Justina " 172 General Gattamelata " 174 Colleone " 176 Madonna and Child " 180 "Pazzi" Madonna " 182 Madonna and Child " 184 Madonna " 186 Side Panel of Pulpit " 188 End Panel of Pulpit " 190

 

The reproductions from photographs which illustrate this volume have been made by Messrs. J.J. Waddington, Ltd. 14 Henrietta Street, W.C.

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DONATELLO

The materials for a biography of Donatello are so scanty, that his life and personality can only be studied in his works. The Renaissance gave birth to few men of productive genius whose actual careers are so little known. Unlike many of his contemporaries, Donatello composed no treatise on his art; he wrote no memoir or commentary, no sonnets, and indeed scarcely a letter of his even on business topics has survived. For specific information about his career we therefore depend upon some returns made to the Florentine tax-collectors, and upon a number of contracts and payments for work carried out in various parts of Italy. But, however familiar Donatello the sculptor may be to the student of Italian art, Donatello the man must remain a mystery. His biography offers no attraction for those whose curiosity requires minute and intimate details of domestic life. Donatello bequeathed nothing to posterity except a name, his masterpieces and a lasting influence for good.

The Denunzia de' beni, which was periodically demanded from Florentine citizens, was a declaration of income combined with what would now be called census returns. Donatello made three statements of this nature,[1] in 1427, 1433 and 1457. It is difficult to determine his age, as in each case the date of his birth is differently inferred. But it is probable that the second of these returns, when he said that he was forty-seven years old, gives his correct age. This would place his birth in 1386, and various deductions from other sources justify this attribution. We gather also that Donatello lived with his mother Orsa, his father having died before 1415. The widow, who is mentioned in 1427, and not in 1433, presumably died before the latter date. One sister, Tita, a dowerless widow, is mentioned in the earliest denunzia, living with her mother and Donatello, her son Giuliano having been born in 1409. It is probable that Donatello had a brother, but the matter is somewhat obscure, and it is now certain that he cannot be identified with the sculptor Simone, who used to be considered Donatello's brother on the authority of Vasari.

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The year 1402 marks an event of far-reaching importance in the history of Italian art. Having decided to erect bronze doors for their Baptistery, the Florentines invited all artists to submit competitive designs. After a preliminary trial, six artists were selected and a further test was imposed. They were directed to make a bronze relief of given size and shape, the subject being the Sacrifice of Isaac. Few themes could have been better chosen, as the artist had to show his capacity to portray youth and age, draped and undraped figures, as well as landscape and animal life. The trial plaques were to be sent to the judges within twelve months. Donatello did not compete, being only a boy, but he must have been familiar with every stage in the contest, which excited the deepest interest in Tuscany. A jury of thirty-four experts, among whom were goldsmiths and painters as well as sculptors, assembled to deliver the final verdict. The work of Jacobo della Quercia of Siena was lacking in elegance and delicacy; the design submitted by Simone da Colle was marred by faulty drawing; that of Niccolo d'Arezzo by badly proportioned figures; while Francesco di Valdambrino made a confused and inharmonious group. It was evident that Ghiberti and Brunellesco were the most able competitors, and the jury hesitated before giving a decision. Brunellesco, however, withdrew in favour of his younger rival, and the commission was accordingly entrusted to Ghiberti. The decision was wise: Ghiberti's model, technically as well as æsthetically, was superior to that of Brunellesco. Both are preserved at Florence, and nobody has regretted the acceptance of Ghiberti's design, for its rejection would have made a sculptor of Brunellesco, whose real tastes and inclinations were towards architecture, to which he rendered services of incomparable value.

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For a short time Donatello was probably one of the numerous garzoni or assistants employed by Ghiberti in making the gates, but his first visit to Rome is the most important

incident of his earlier years. Brunellesco, disappointed by his defeat, and wishing to study the sculpture and architecture of Rome, sold a property at Settignano to raise funds for the journey. He was accompanied by Donatello, his stretissimo amico, and they spent at least a year together in Rome, learning what they could from the existing monuments of ancient art, and making jewelry when money was wanted for their household expenses. Tradition says that they once unearthed a hoard of old coins and were thenceforward known as the treasure-seekers—quelli del' tesoro. But the influence of antiquity upon Donatello was never great, and Brunellesco had to visit Rome frequently before he could fully realise the true bearings of classical art. It has been argued that Donatello never made this early visit to Rome on the ground that his subsequent work shows no traces of classical influence. On such a problem as this the affirmative statement of Vasari is lightly disregarded. But the biographer of Brunellesco is explicit on the point, giving many details about their sojourn; and this book was written during the lifetime of both Donatello and Brunellesco. The argument against the visit is, in fact, untenable. Artists were influenced by classical motives without going to Rome. Brunellesco himself placed in his competition design a figure inspired by the bronze boy drawing a thorn out of his foot—the Spinario of the Capitol. Similar examples could be quoted from the work of Luca della Robbia, and it would be easy to show, on the other hand, that painters like Masaccio, Fra Angelico, and Piero della Francesca were able to execute important work in Rome without allowing themselves to be influenced by the classical spirit except in details and accessories. Moreover, if one desired to press the matter further, it can be shown that in the work completed by Donatello before 1433, the year in which he made his second and undisputed visit, there are sufficient signs of classical motive in his architectural backgrounds to justify the opinion that he was acquainted with the ancient buildings of Rome. The Relief on the font at Siena and that in the Musée Wicar at Lille certainly show classical study. At the same time, in measuring the extent to which Donatello was influenced by his first visit to Rome, we must remember that it is often difficult and sometimes impossible to determine the source of what is generically called classical. The revival or reproduction of Romanesque motives is often mistaken for classical research. In the places where Christianity had little classical architecture to guide it—Ravenna, for instance—a new line was struck out; but elsewhere the Romanesque had slowly emerged from the classical, and in many cases there was no strict line of demarcation between the two. But Donatello was very young when he went to Rome, and the fashion of the day had not then turned in favour of classical study. The sculptors working in Rome, colourless men as they were, drew their inspiration from Gothic and pre-Renaissance ideals. In Florence the ruling motives were even more Gothic in tendency. It is in this school that Donatello found his earliest training, and though he modified and transcended all that his teachers could impart, his sculpture always retained a character to which the essential elements of classical art contributed little or nothing.

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Florence was busily engaged in decorating her great buildings. The fourteenth century had witnessed the structural completion of the Cathedral, excepting its dome, of the Campanile, and of the Church of Or San Michele. During the later years of the century their adornment was begun. A host of sculptors was employed, the number and scale of statues required being great. There was a danger that the sculpture might have become a mere handmaid of the architecture to which it was subordinated. But this was not the case; the sculptors preserved a freedom in adapting their figures to the existing architectural lines, and it is precisely in the statuary applied to completed buildings that we can trace the most interesting transitions from Gothic to Renaissance. It is needless to discuss closely the work which was erected before Donatello's return from Rome: much of it has unhappily perished, and what remains is for the purposes of this book merely illustrative of the early inspiration of Donatello. Piero Tedesco made a number of statues for the Cathedral, Mea and Giottino worked for the Campanile. Lorenzo di Bicci, sculptor, architect, and painter, was one of those whose influence extended to Donatello; Niccolo d'Arezzo was perhaps the most original of this group, making a genuine effort to shake off the conventional system. But, on the whole, the last quarter of the fourteenth century showed but little progress. Indeed, from the time of the later Pisani there seems to have been a period of stagnation, a pause during which the anticipated progress bore little fruit. Orcagna never succeeded in developing the ideas of his master. The shrine in Or San Michele, marvellous in its way, admirable alike for diligence and sincerity, stands alone, and was not imbued with the life which could make it an influence upon contemporary art.

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