THE FLORENTINE SCULPTOR DONATO.
[born 1386—died 1468.]
The sculptor Donato,[1] called by his contemporaries Donatello, and who subscribes himself thus on some of his works, was born in Florence in the year 1386.[2] He devoted himself to the arts of design[3] and was not only an excellent sculptor and admirabie statuary, but was beside very skilful in works of stucco, well versed in the study of perspective, and highly esteemed as an architect. The productions of Donatello displayed so much grace and excellence, with such correctness of design, that they were considered to resemble the admirable works of the ancient Greeks and Romans more closely than those of any other master had ever done. Nor is it without good reason that he is acknowledged to be the first who conducted the practice of historical composition, in basso-rilievo, into the right path; his works of that kind giving proof of so much thought, power, and facility, that he is at once perceived to have had the true intelligence and mastery of that branch of art, which he exercised with extraordinary success, insomuch that he has not only remained unsurpassed in that style, but has never been equalled by any artist, even down to our own days.[4]
Donatello was brought up from early childhood in the
- ↑ In the fiscal register for 1430, this artist is called Donato di Niccolò di Betto Bardi, but in other documents he is sometimes called Donatello. When mentioned in reference to his works, he is usually called Donatello Fiorentino.
- ↑ In three documents cited by Gaye, the date of Donato’s birth is variously given, as in 1382, 1386, 1387. We abide by the common opinion, that he was born in 1386.
- ↑ According to Masselli, Donato first studied painting under Lorenzo di Bicci: but the intelligent German commentators do not think this opinion well supported.
- ↑ The high encomiums bestowed by Vasari, and after him by Borghini and Baldinucci, on Donatello, whom they declare to be the true restorer of sculpture, appear to be principally founded on the fact that he first succeeded in giving to his figures that freedom of movement, and force of expression, which were afterwards carried to the highest point by Buonarroti; a manner which, from the imposing solemnity of the effect produced, is called by the Italians il terribile. For a comparison of the manner of Donato with that of his contemporary Lorenzo Ghiberti, see Rumohr, Ital. Forsch. ii, 286.
