In 1443 Donatello was invited to Padua to undertake the decoration of the high altar of S. Antonio, but in the period preceding his departure he not only assisted Brunelleschi in the decoration of the sacristy of S. Lorenzo, towards which the bronze doors are his chief contribution, but found time to chisel, or model in wax or terra-cotta, for Cosimo and other private patrons, most of the portrait busts and small reliefs, which are now distributed over the museums of the world. His first work in Padua was the bronze crucifix for the high altar, a work immeasurably superior to the early wooden crucifix at S. Croce, both as regards nobility of expression and subtlety of form. In the very year when Donatello arrived in Padua the famous Condottiere Erasmo de' Narni, called Gattamelata, had died, and when it was decided to honour his memory with an equestrian statue, it was only natural that this master should be chosen to undertake a task from the difficulties of which all others may well have shrunk - had shrunk, indeed, since classic times. This commission, and the reliefs and figures for the high altar, kept Donatello in Padua for ten years, though during that time he visited Venice (where he carved the wooden "St John" at the Frari) and probably Mantua, Ferrara and Modena. At least, he was in communication with Borso d' Este of Modena about a project for an equestrian statue, and had to give expert opinion about two equestrian statues at Ferrara. In his workshop in Padua he gathered around him quite a small army of assistants, stone-carvers, metal-workers, painters, gilders and bronze-casters. The Gattamelata was finished and set up in 1453 - a work powerful and majestic in its very repose; there is no striving for dramatic effect, no exaggerated muscular action, but the whole thing is dominated by the strong, energetic head, which is modelled with the searching realism of the Zuccone and the Poggio heads. The high altar, for which Donatello executed twenty-two reliefs, seven statues and the crucifix, was completed in 1450, but had subsequently to undergo many changes, in the course of which the original disposition of the sculptures was entirely lost sight of, the present arrangement being due to Camillo Boito (1895). The chief features of the altar are the wonderfully animated and dramatic bronze reliefs, four in number, of the "Miracles of St Anthony." With the exception of another visit to Siena in 1457, of which the bronze "St John" in the cathedral is a reminder, Donatello spent the remaining years of his life in Florence. Closely akin to the rugged "St John" at Siena, and therefore probably contemporaneous, is the repulsively ugly, emaciated "Magdalen" at the baptistery in Florence. The dramatic intensity of the "Judith" group in the Loggia de' Lanzi, which was originally placed in the court of the Medici Palace, marks it as belonging to the post-Paduan period of the master's life. His last work of importance was the bronze reliefs for the pulpit of S. Lorenzo, commissioned about 1460, and finished after Donatello's death by his pupil Bertoldo. The reliefs of the "Flagellation" and "Crucifixion" at the Victoria and Albert Museum are typical examples of the master's style at this closing period of his life. He died on the 13th of December 1466.
As happened subsequently to Velazquez and Frans Hals, Donatello, whose supreme mastery had been acknowledged by Michelangelo, Raphael and the other giants of the late Renaissance, almost sank into oblivion during the 18th and early 19th centuries, and only in comparatively recent times has he been restored to the eminent position which is his due in the history of art. The full power of his genius was only revealed to the world when, at the quincentenary celebration of his birth, the greater part of his life-work was brought together in Florence. The large hall at the Bargello has ever since been devoted to the display of his works, the numerous original bronzes and marbles and terracottas being supplemented by casts of works at other places, such as the colossal Gattamelata monument.
Authorities
Before the date of the Florence exhibition in
1886 the only books on the subject of Donatello - apart from references
in general histories of art - were Pastor's Donatello (Giessen,
1882) and Semper's Donatello, seine Zeit and seine Schule
(Vienna, 1875). Since then the great Florentine sculptor has received
attention from many of the leading art writers, though England has only
contributed a not very complete record of his life and work by Hope Rea,
Donatello (London, 1900), and an excellent critical study by
Lord Balcarres, Donatello (London, 1903), besides a translation
of A. G. Meyer's fully illustrated and exhaustive monograph in the
Knackfuss series (London, 1904). Other notable books on the subject
are: - Eugene Miintz, Donatello (Paris, 1885), and in the
series of Les Artistes cilebres (Paris, 1890); Schmarzow,
Donatello (Breslau, 1886); Cavalucci, Vita ed opere del
Donatello (Milan, 1886); Tschudi, Donatello e la critica
moderna (Turin, 1887); Reymond, Donatello (Florence, 1899);
and Bode, Florentiner Bildhauer der Renaissance (Donatello als
Architekt and Dekorator, Die Madonnenreliefs Donatellos) (Berlin,
1902). (P. G. K.)
This article is from the 1911 edition of an encyclopedia, which is out of copyright here in the U.S. It is in the public domain and you may copy, download, print and distribute this work as you see fit.
Every effort has been made to present this text accurately and cleanly, but no guarantees are made against errors. Neither Melissa Snell nor About may be held liable for any problems you experience with the text version or with any electronic form of this document.
