Donatello Part 11

The statues of St. John at Siena, Berlin, and Venice[182] are closely a.n.a.logous to the Magdalen. St. John is the ascetic prophet who spent years in seclusion, returning from the desert to preach repentance.

These three figures have one curious feature in common--a flavour of the Orient. The St. John is some fakir, some Buddhist saint. Asiatic as the Baptist was, it is seldom that Italian art gave him so Eastern a type; but the explanation is simply that Donatello evolved his own idea of what a self-centred and fasting mystic would resemble, and his conception happens to coincide with the outcome of similar conditions actually put into practice elsewhere. The Berlin bronze is St. John as Baptist, the others show him with the scroll as Precursor. He always wears the camel's-hair tunic, which ends just below the knee; at Siena it is thick, like some woolly fleece; it conceals and broadens the frame, thus suggesting a stoutness which is not warranted by the size of the leg. The modelling of legs and arms in these statues is noteworthy. They are thin, according to Donatello's idea of his subject; and though the thinness takes the natural form of slender circ.u.mference, one sees that the limb with its angular modelling and its flat surfaces has _become_ thin: the thinness is explained by the character. The feet of the Siena bronze are exceptionally good; the wrist and forearm of the Venice figure are admirable. The Siena Baptist is nearly life-sized, and was made in 1457. He is the least introspective of the three, a mature strong man, and the oldest of the many Baptists Donatello made. The Berlin figure is the flushed eccentric, holding up the cup he used in baptizing. The figure is half the size of life, and was doubtless one of the numerous statuettes which crowned fonts. It has been suggested that this bronze, which is defective in several places, was commissioned for the Cathedral of Orvieto in 1423.[183] But the type would appear more advanced than the busts on the Mandorla doorway or the Siena work made about this time.

Moreover, the contract specifies a St. John _c.u.m signo crucis et demonstratione ecce agnus Dei_. A Baptist was made at the same time for Ancona, and is now lost. On first seeing the St. John in Venice one's impression is to laugh. But he is not really a wild man of the woods--he is simply covered with and made grotesque by thick ma.s.ses of oil paint. A close examination of the figure shows that in some places the paint is over a quarter of an inch thick, and the last coating it has received is glutinous in quality, and has been laid on with such freedom that the position and shape of certain features are altered.

But if seen close at hand, the statue (which it is understood will shortly be cleaned) shows distinct merits. The modelling of the extremities is good, and though it is clear that Donatello was never quite willing to treat St. John as on a par with the other Saints, we have a systematic and generic rendering of his idea. In some measure painting was needed as a preservative for wood statues, otherwise it is difficult to justify the covering of a fine material by paint which cannot do justice to itself, while it must hide the refinements of the carving. Donatello worked but little in wood. Crucifixes were commonly made of it, but the material was one which could never receive _quella carnosita_ and _morbidezza_[184] of marble or metal. The Greeks limited their use of it to garden and woodland themes: the Egyptians used it but little, because they had so few trees. In Donatello's time it was popular, and came to be regarded as a distinct art. Thus the Sienese wood-carvers were forbidden to work in stone,[185] but the great masters like Donatello did not strictly adhere to the rules, and did not refrain from invading the art of the woodcarver. There is a large cla.s.s of statues derived from the four just described. One of these, attributed to Donatello, is the St. Jerome at Faenza, also made of wood.[186] Chocolate-coloured paint has been ladled all over the body. The beard is faint lavender, and the canvas loin-cloth is blue.

The pose and expression are mannered. It is usual to dismiss it in an offhanded way as a bad and later work; but the modelling shows signs of skill, and until the paint is removed it is useless to make guesses. Two bronze statuettes of the Baptist[187] are distinctly Donatellesque, and made about 1450, though it is impossible to a.s.sign them with certainty to the master himself. Michelozzo's versions of St. John at Montepulciano, on the Cathedral altar in Florence, and in the Annunziata, show the influence of Donatello; but the Baptist is a milder prophet, and no longer the hermit. In the Scalzi at Florence there is a Baptist which is typical of many others of the same character. The Magdalen was less copied than the St. John. The version nearest Donatello himself is in London, a large grim bust;[188] in the same collection is a relief of her apotheosis, and the Louvre possesses a similar work.[189] Neither of the latter is by Donatello himself, but they recall his influence.[190] The large Magdalen in Santa Trinita at Florence is a good example of the _bottega_.

[Footnote 182: Siena Cathedral, bronze; Berlin Museum, bronze; Frari Church, Venice, wood.]

[Footnote 183: 10, ii. 1423. On 29, iv. 1423, Donatello received 5 lbs. 3 oz. of wax for modelling the figure. Luzi, "Duomo di Orvieto,"

1867, p. 406.]

[Footnote 184: Vasari, i. 147.]

[Footnote 185: _Che niuno maestro di legname possa fare di pietra._ Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120.]

[Footnote 186: In Museum. From the Capella Manfredi in San Girolamo degli Osservanza outside the town, suppressed in 1866. _Cf._ two similar statuettes in terra-cotta, Bargello, Nos. 174 and 175.]

[Footnote 187: Louvre, about 12 inches high, unnumbered. Museo Archeologico, Venice, No. 8. Frau Hainauer's bronze Baptist, signed by Francesco di San Gallo, is interesting in this connection.]

[Footnote 188: Victoria and Albert Museum, No. 157, 1894.]

[Footnote 189: _Ibid._ No. 7605, 1861, terra-cotta. Louvre, No. 465, ditto.]

[Footnote 190: _Cf._ Herr von Beckerath's in Berlin, and the Verrocchio-school Magdalen in the Berlin Gallery, No. 94.]

[Sidenote: The Altar at Padua.]

Donatello was fifty-seven when he left Florence in 1443 to spend ten eventful years at Padua. There he carried out his masterpieces of bronze for the Cathedral and the equestrian statue of Gattamelata on the Piazza opposite Donatello's little house, which to this day is occupied, appropriately enough, by a carver--Bortolo Slaviero, _tagliapietra_. It is now established that Donatello was invited to Padua for the Church and that the Gattamelata was not commissioned until later.[191] At this time Padua was a centre of humanistic learning and intellectual activity. There was a hive of antiquarians and collectors, and, according to its lights, a thriving school of painters.[192] The Florentine Palla Strozzi was living there in retirement, and he may have been partly responsible for the invitation to Donatello. But the indigenous art of Padua was dependent on Venice, and needed some fertilising element. Squarcione with his 140 pupils founded his art upon traditional and conventional data: had it not been for Donatello and the radical changes which resulted from his sojourn at Padua, a fossilised school would have become firmly rooted, and would probably have influenced the whole of the Veneto. Mantegna was still young when Donatello arrived, and though there is no reason to suppose that he received work from Donatello as Squarcione did, it is clear that, without this influx of Southern ideas, he would have had some difficulty in shaking off the conventionalisms of his home.

But though Donatello's immediate influence on Paduan art was decisive (and its ramifications soon extended to Venice), he was himself influenced by his fresh surroundings, and his native bent towards complexity was increased. He a.s.similated many of the local likes and dislikes. If Gattamelata had been erected in some Florentine square there would have been less ornament; if Colleone had been commissioned for Siena there would have been less _braggadocio_. Leonardo never recovered his Tuscan frame of mind after his sojourn in Milan.

Donatello himself realised these novelties to the full, and their results upon his art. While he was making the intricate bas-reliefs, the selective genius of Luca della Robbia was composing the Florence Lunettes,[193] monumental in their simplicity. And though Vasari records the enthusiasm with which Donatello's productions were greeted in the North, the sculptor recognised the dangers of unqualified praise, and said he must return home to Florence to receive criticism and censure, the stimulus to better work and greater glory. But the _maggiore gloria_ was not to be attained. He was old when he left Padua, and on his departure he had completed the greatest undertaking of his career--the High Altar of the Santo, with all its marble setting and the bronze figures. A crucifix, the Madonna and Child, six saints, a Pieta, twelve panels of angels, four reliefs of St Anthony's Miracles, the Symbols of the Evangelists, and a large marble Entombment. Donatello's altar was unfortunately dismantled in the seventeenth century, and the statues were dispersed throughout the Church. The altar was reconstructed a few years ago, and the bronzes have suffered during their exile, but they are still in good preservation. The new marble altar is a thoughtful and painstaking construction; its details are derived from Donatellesque motives, and the bronzes are fitted in with skill. It cannot, however, be in any sense a reproduction of the old altar, of which no drawing is preserved. And the earliest description, which has been carefully followed as far as circ.u.mstances allow, shows that the existing sculpture is incomplete: at least four marble reliefs have been lost.[194] One may further remark that the twelve angels in high relief, now forming the face of the altar frontal, are so designed, especially as regards their aureoled heads, that one concludes it must have been Donatello's intention for them to have been looked up to rather than looked down upon. The present arrangement of the altar is simple and effective. The frontal itself is composed of children singing and playing music. In the centre is the Pieta, and on either side is an Evangelist's symbol flanked by two saints on the level of the top of the altar. The retable has two miracle reliefs, and between them a small bronze Christ, which has been put there in error. Above the retable is the Madonna with two saints on either side: the crucifix surmounts the whole composition. The back of the altar has the remaining Miracle reliefs and Evangelist symbols, together with the Entombment.

[Footnote 191: Michael Angelo Gloria; Donatello Fiorentino e le sue opere ... a Padova, 1895, from which the dates are all quoted.]

[Footnote 192: See Kristeller's Mantegna, translated by S.A. Strong, 1901, p. 17.]

[Footnote 193: Over the Sacristy doors in the Cathedral.]

[Footnote 194: Anonimo Morelliano (1520-40). Ed. of Ba.s.sano, 1800, p.

3. _E da dietro l'altar sotto il scabello il Cristo morto, con le altre figure a circo, e le due figure da man destra con le altre due da man sinistra, pur de ba.s.so rilevo, ma de marmo, furono de mano de Donatello._]

[Ill.u.s.tration: _Alinari_

SAINT FRANCIS, THE MADONNA, AND SAINT ANTHONY

SANT' ANTONIO, PADUA]

[Sidenote: The Large Statues.]

Of the seven large free-standing statues, that of the Madonna and Child worthily occupies the central position. n.o.body was more modern than Donatello, n.o.body less afraid of innovation. But in this Madonna he went back to archaic ideas, and we have a conception a.n.a.logous to the versions of the two previous centuries:[195] indeed, his idea is still older, for there is something Byzantine in this liturgical Madonna, who gazes straight in front of her, and far down the nave of the Santo--a church with mosque-like domes, like those of the early Eastern architects. The Child is seated in her lap, as in the earliest representation of the subject: here, however, the Christ is a child, with an element of helplessness almost indicated, whereas the primitive idea had been to show the vigour and often the features of a biggish boy. Donatello's version is much more pathetic, as the little Christ raises a tiny hand in benediction. The Virgin herself is of unequalled solemnity, while her young and gracious face, exquisite in expression and contour, is full of queenly beauty. But there is still this atmosphere of mystery, an enigmatic aloofness in spite of the warm human sentiment. The Sphinx's faces, with all their traditions of secrecy, contribute their share to the cryptic environment. Donatello uses them as the supports of the throne on which the Madonna is seated; behind it are Adam and Eve in relief: in front she herself shows the New Adam to the mult.i.tude, on whom he confers his blessing. St. Francis of Padua [Transcriber's Note: Should be "a.s.sisi."] stands on the right of the Madonna, as founder of the Order, and taking precedence of St. Anthony, to whom the church is dedicated. He holds the crucifix and the book of rules. He is draped in the ordinary Franciscan habit, which falls round his feet, giving a stiffness to the figure as seen in profile, and making him appear rather short when seen from the front. The workmans.h.i.+p is good, the hands, with lightly shown stigmata, being excellent; but the lack of distinction in the figure makes one look more closely at the head, which is modelled with great power and freedom, showing that Donatello still possessed the vigour and penetration for which the Campanile prophets are notable. The head is full of character; not perhaps what one would expect from the apostle of self-abnegation: but it is determined, strong in the mouth and broad chin. It was, of course, only meant to be seen a few feet from the ground, and the lines do not compare in depth with the Habbakuk or the Zuccone; but there is none the less an a.n.a.logy in the manner by which Donatello calls in the a.s.sistance of light and shade to add tone and finish to the modelling.

St. Anthony was a deservedly popular saint in Padua, where he preached and denounced the local tyrant; and he may be accounted the greatest man of Portuguese birth. But Donatello does not seem to have found the subject very inspiring. He has taken his idea from rather an ordinary friar such as he or we might see any day. It is a good homely face, neither worldly nor spiritual, and only redeemed from the commonplace by technical ability. St. Daniel is more interesting; the young deacon is extremely well posed, the plain and ma.s.sive features being drawn with a firm and confident touch; and the deacon's vestments, which always take an easy and becoming fall, are decorated in a typical way with winged children arbitrarily introduced, and looking more like the detail of some bas-relief than a piece of embroidered ornament. St.

Justina wears the coronet as princess, and bears the palm-leaf as martyr. She has no p.r.o.nounced characteristic, the face being rather unemotional; but the gesture of her outstretched hand is not without an appealing dignity. The hair, like that of the Madonna, is parted in the centre, and stands off from the forehead, and then falls in rich tresses about her shoulders. It has not the soft and silken texture of the Madonna's hair, which is rendered with as great a skill as one sees in the Virgin of the Annunciation. In both these latter cases Donatello succeeds in giving to the hair an indescribable suggestion of something full of elasticity and l.u.s.tre. But St. Justina's hair at least grows: so many sculptors of ability failed to indicate that needful quality. St. Procdocimus and St. Louis are of subordinate merit, and show the work of a.s.sistants in several particulars. The former was first Bishop of Padua and converted the father of St.

Justina to Christianity. At first sight the statue is pleasing, but on closer examination the weaknesses, especially in the face, become marked. There is indecision, not in the pose or general idea, but in the details which give character to the whole conception. The features are chiselled by a small _mesquin_ personality, and what might have been a fine statue if carried out by Donatello has been ruined by his a.s.sistants. The ewer which the Bishop carries is a later addition, from the design of which one might almost argue that the statue itself is later than the others.[196] The St. Louis, wearing his episcopal robes above the Franciscan habit, his mitre decorated with a fleur-de-lys of royal France, is also hammered all over, giving the bronze the appearance of being dotted with little pin-holes. The head is, however, marked by the grave austerity for which the St. Louis in Santa Croce is so remarkable, and which became the typical rendering of the saint in fifteenth-century plastic art. However much Donatello may have allowed a free hand to his a.s.sistants in this statue, the fine qualities of the head are attributable to a strict adherence to his own sketch. The last of the great bronze figures is the crucifix above the high altar. It is magnificent, apart from the technical qualities which rival Donatello's most brilliant achievements. All the lines droop together in a wonderful _cadenza_; the face is transfigured by human pain, but all the superhuman power remains.

Donatello combines the literal and symbolical meaning of the Cross; the G.o.dhead is still there. Donatello did not forget that the crucified Christ, when represented by the sculptor, had to preserve all the immortality of the Son of G.o.d. His _contadino_ Christ in Florence has its interest in art; this Christ marks the summit of his plastic ability; but it shows that, without any appeal to terror or emotionalism, without, indeed, suppressing the signs of physical pain, Donatello was able to give an overwhelming portrait of Christ's agony.

The celestial and the terrestrial are unified and fused into one tremendous concentration of human suffering, tempered by divine power.

[Footnote 195: _Cf._, for instance, the Madonna over the door of the Pisa Baptistery.]

[Footnote 196: _Cf._ drawings of ewers in Uffizzi by Giacomone da Faenza, sixteenth century.]

[Ill.u.s.tration: _Alinari_

MIRACLE OF THE SPEAKING BABE

SANT' ANTONIO, PADUA]

[Ill.u.s.tration: _Alinari_

MIRACLE OF THE MISER'S HEART

SANT' ANTONIO, PADUA]

[Ill.u.s.tration: _Alinari_

MIRACLE OF THE MULE

SANT' ANTONIO, PADUA]

[Sidenote: The Bronze Reliefs.]

The four panels of Miracles take the highest rank among Donatello's bas-reliefs. Their size is considerable, being about four feet long.

They have one theme in common, namely, the supernatural gifts of St.

Anthony and the veneration of the populace. Donatello's crowds are admirable; they are deep crowds. The people are rather hot and jostling each other: they stand on benches or stairs in order to get a better view of what is proceeding. The edges of the crowds, where the people are too far off to be active spectators, lose interest in the central incident; they gossip as bystanders or sit down: often they are shown actually leaving the place. It is singular how ill-designed many of the cla.s.sical crowds are, especially the battle-scenes: they are constructed without regard for the human necessity of standing on something; and we have grotesque topsy-turvy compositions, the individual parts of which are unrivalled in technique.[197] Michael Angelo's first and last representation of a crowd in sculpture shows the same fault, which, indeed, was far from uncommon.[198] It arose from a desire to show more of the crowd than could be naturally seen from the eye level, and the whole relief was consequently covered with figures, the background proper being suppressed. In these Paduan reliefs Donatello manages to give ample density and variety, and there is never any doubt as to the owners.h.i.+p of legs or arms. His early relief at Siena, on the other hand, has a group where there is confusion, which is not justified in a quiet gathering of people.

Another feature which the four reliefs have in common is Donatello's treatment of narrative. Ghiberti's plan was to put several incidents into one relief, forming a sequence of events leading up to the critical episode, to which he usually gave the best place in the foreground. He consistently followed up his formula in the second gates, and brought the practice to its perfection. Whether suitable or not for gates, it would have been an intelligible treatment of purely decorative reliefs, like those at Padua. Donatello, however, confines his plaques to single incidents: in one case only does he add a second detail, and there only as a corroborative fact. The narrative is shown in the crowd itself. Att.i.tudes and expression are made to reflect the spirit of what has gone before, while the actual occurrence suffices to show the final issue of the story. Thus we have all the ideas of which others would have made a series of subordinate scenes: incredulity, fear, surprise, mockery, apathy and wors.h.i.+p. The crowd shows everything which has already pa.s.sed, and the composition of the bas-reliefs thus secures a striking h.o.m.ogeneity. It is difficult to say which of them is best. The variety in dress, scene and physiognomy is so remarkable; varying, no doubt, according to the tastes of the _garzone_ responsible for finis.h.i.+ng it. Probably the miracle of the Speaking Babe is the best known. A n.o.bleman of Ferrara doubted the honour of his wife; St. Anthony conferred the power of speech on her infant child, which proclaimed its mother's innocence. Donatello has put an exquisite little Madonna and Child just above the central figures of the legend. The composition of this group, as in the others, is broken by the architecture, otherwise the length of the bronzes might have tended to a monotonous row of figures. But the projecting background does not make the episode less coherent. The mother is just receiving back her baby from the saint; behind her are women, friends and others; whereas the opposite side of the relief is entirely occupied by men, who are around her husband; and the suggested conflict of the s.e.xes is averted by the miracle. The husband, who wears an odd sort of _bonnet tricolore_, and several of his comrades are simply dressed in short cloaks open at the sides and ending just below the hip. The legs and arms, and especially the hands, are very well modelled. In this relief the actors are quiet and decorous, and where not motionless are moving slowly. The miracle of the Miser's Heart is more emotional: "where thy heart is there shall thy treasure be also." The miser having died, St. Anthony said that his heart would be found in his strong box: this was proved to be the case, and then when the body was opened it was found that his heart was absent. The scene is nominally inside a church: in the background is a procession of clergy and choristers with their cross and candles.

In the centre is the bier with the corpse lying on it. The body is opened and the crowd looks on in feverish though suppressed excitement. St. Anthony is pointing towards the dead man: and the crowd realises that the heart is absent--_ubi thesaurus ibi cor_.

Numbers of people have dropped on to their knees, others kiss the ground where the saint stands. There are signs of distress and apprehension on all sides. Some children scuttle back to their parents; one of the mothers bends down to catch her child just as it is going to fall. Two boys have climbed on to an altar or pedestal to get a better view: one of them wears the peaked cap still worn by the undergraduates of _Padova la dotta_. The whole scene is immensely dramatic and grim, without any frenzy or excess; and its solemn effect is enhanced by the reserve of the people in spite of their excitement.

The background is full of detail, largely obtained by the chisel: one part of it, with the stairs, ladders and upper storey, resembles the Lille relief. There are two important inscriptions, cut into the metal, to which reference will be made later. The subject of the third relief (now placed on the retable and already getting dimmed by candle-grease) is the healing of the youth Leonardo, who kicked his mother and confessed to St. Anthony, who properly observed that so sinful a foot should be cut off. The injunction was taken too literally, and the saint's miraculous power replaced the severed limb.

Strictly speaking, this miracle takes place in the open air, for Donatello has introduced a rudimentary sun with most symmetrical rays, and half a dozen clouds which look like faults in the casting. But the whole relief is framed by an architectural structure, some amphitheatre with the seats ranged like steps. A bal.u.s.trade runs all round the huge building, and a number of idlers standing about at the far end are reduced to insignificant proportions, thus giving distance and depth to the scene. Leonardo lies on the ground in sad pain, and Anthony has just restored the foot. The central group is not much animated, but two or three of the men's heads are telling character-studies. Donatello has concentrated his crowd into the centre: at the sides the miracle pa.s.ses unheeded. A fat man is soliloquising with his hand reposing on an ample stomach: a boy with a long stick and something like a knapsack on his back is attracting the attention of a young woman, who seems absorbed in watching the miracle: her child tries to pull her along to go closer. In the corner are some strange rec.u.mbent figures, almost cla.s.sical in idea; and a tall woman completely veiled, with her face buried in her hands. The last of the reliefs ill.u.s.trates St. Anthony's power over animals. One Bovidilla, a sceptic, possessed a mule; the saint offered the consecrated wafer to the animal when starving, and Bovidilla was converted by the refusal of the animal to eat it. The scene takes place within a church, which, so far as we see the apse and choir, is composed of three symmetrical chapels with vaulted and coffered roofs.

There is plenty of cla.s.sical detail, but still more of the Renaissance; there is no occasion to a.s.sume the design to have been copied from the Tempio di Pace or the Caracalla baths. St. Anthony occupies the centre, and the kneeling mule is on the right, his master close at hand. The church is crowded with people, who, on the whole, show more curiosity than reverence. Several garrulous boys by the door are amused; an old beggar hobbles in; a mother tries to keep a child quiet. Others take any post they can secure, and a good many are crouching on the ground in all sorts of postures, making a variety which amounts to unevenness. In all these panels the head of St.

Anthony is of a finer type than that shown in the other version on the altar. The features are clear cut, and there is an air of earnest distinction which is not observed on the large statue. Speaking generally, one notices that while ample scope is allowed to the fancies of picturesque architecture in all these reliefs, Donatello always keeps it within proper bounds. Donatello was not tempted into the interacting problems of perspective and _intarsia_, which caused so many Paduan artists to lose grasp of the wider aspects of their calling. Then we notice how the crowd _qua_ crowd plays its proper part: out of some two hundred faces in these panels not more than two or three look out to the spectator--a quality inherited by Mantegna.

The reliefs are essentially local pictures of local significance; not only the costume, but the types are Paduan, such as we find in the local school of painting: but we find nothing of the kind in Donatello before the journey to the north, and the types scarcely reappear on the altar of San Lorenzo. But, in spite of this, the reliefs have a catholicity which extends their influence far beyond the limits within which Donatello confined his work. Finally, the wealth of local colouring and animation makes these reliefs among the earliest in which "genre" or "conversation" has prominence. They offer a most striking contrast to the sedate Florentine crowds painted in the Brancacci chapel by Masaccio.