Donatello

Renew：Part 17
Author：David Lindsay Earl of Crawford
Update：08-15-2023
Tags：Arts Photography
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Chapter List

Chapter do not always specify the personage to be represented.
Chapter 2
Chapter 3
Chapter 4
Chapter of Sant" Antonio at Padua,[83] and his love of buildings is constantly shown in the background of his reliefs. But the strongest testimony to his architectural skill is derived from the fact that he was commissioned in 1416 to make a model for the then unfinished cupola of the Cathedral at Florence. Brunellesco and Nanni di Banco also received similar orders. Brunellesco alone understood the immense difficulty of the task, and in the next year he announced his return to Rome for further research. In 1418 the sum of two hundred gold florins was offered for the best model, and in 1419 Ghiberti, Nanni di Banco, Donatello and Brunellesco all received payments for models. Donatello"s was made of brick. Ultimately the work was entrusted to Brunellesco, who overcame the ignorance and intrigues which he encountered from all sides, his two staunch friends being Donatello and Luca della Robbia. As to the nature of Donatello"s models we know nothing; it is, however, clear that his opinion was at one time considered among the best available on a problem which required knowledge of engineering. As a military engineer Donatello was a failure. He was sent in 1429 with other artists to construct a huge dam outside the besieged town of Lucca, in order to flood or isolate the city. The amateur and _dilettante_ of the Renaissance found a rare opportunity in warfare; and this pa.s.sion for war and its preparations occurs frequently among these early artists. Leonardo designed scores of military engines. Francesco di Giorgio has left a whole bookful of such sketches, in one of which he antic.i.p.ates the torpedo-boat.[84] So, too, Michael Angelo took his share in erecting fortifications, though he did not fritter away so much time on experiments as some of his contemporaries. Donatello and his colleagues did not even leave us plans to compensate for their ignominious failure. One is struck by the confidence of these Renaissance people, not only in art but in every walk of life. They were so sure of success, that failure came to be regarded as surprising, and very unprofessional. Michael Angelo had no conception of possible failure. He embarked upon the colossal statue of the Pope when quite inexperienced in casting; he was the first to taunt Leonardo on his failure to make the equestrian statue. When somebody failed, the work was handed over to another man, who was expected to succeed. Thus Ciuff.a.gni had to abandon an unpromising statue, _quod male et inepte ipsam laboravit_,[85] and the David of Michael Angelo was made from a block of marble upon which Agostino di Duccio had already made fruitless attempts.
Chapter 6
Chapter 7
Chapter 8
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17