When Nanni had departed, Donato set to work with all his disciples and workmen: some of the statues he cut off at the shoulder, others at the arm, and arranged them in such a manner, that standing thus together, each made place for his neighbour, one having his hand brought forward and laid on the shoulder of another. All being then firmly fixed in such attitudes as were suggested by the taste of Donato, his judicious care was found to have united them in a manner by which the error of Nanni was entirely concealed, insomuch that when the niche was completed, the group presented the most obvious expression of concord and brotherhood; nor could any one not acquainted with the circumstance perceive any evidence of the mistake. When Nanni found, on his return, that Donato had corrected all and so effectually remedied the blunder he had committed, he gave him hearty thanks, and right willingly bestowed the promised supper on him and his men. Under the feet of these four saints, and among the decorations of the tabernacle, is a representation in marble and mezzo-rilievo, also by Nanni, of a sculptor working with great animation at the statue of a child; and another master building a wall, with two assistants. All these little figures are full of life, and earnestly engaged in their different occupations.
Another work by the same artist is in the façade of Santa Maria del Fiore, and on the left as you enter the church by the central door. This is the figure of an evangelist, and is a very good statue in the manner of that time.[1]
We find it further asserted that the San Lo, constructed for the Guild of Farriers, and near the oratory of Or San Michele, above-named, is also a work of Nanni; as, likewise we are told, is the marble tabernacle, in the basement of which is a representation of St. Lo, the farrier, who is shoeing a furious horse. All this is so well done, that the master obtained much reputation from it, and he would doubtless have both merited and acquired still higher credit, had he not died early, as was the case.[2] Be this as it may, the
- ↑ This is one of the four Evangelists—grand seated figures, which are placed in the four chapels beside the choir of the Florentine Cathedral. —Ed. Flor. 1846 -9.
- ↑ Vasari appears to doubt whether Santo Lo (Sant’ Alo, patron saint of the farriers and goldsmiths) be a work of Nanni’s; and his doubts receive confirmation from the circumstance that this work is much more
