Marco,[1] undertaken in the first instance in concert with Filippo Brunelleschi,[2] for the Guild of Joiners, but which Donatello afterwards finished by himself, an arrangement to which Filippo had consented. This figure was executed by Donato with so much judgment, that while standing on the ground its excellence was not obvious to those who were but imperfectly acquainted with matters of art, insomuch that the syndics of the Guild were not disposed to have it placed in the situation intended for it; whereupon Donato bade them suffer him to raise it to its due position, when he would so work at it that they should see a different figure from that they then beheld. Having placed the statue accordingly, he shut it up for a fortnight, and then, without having touched it, uncovered his work to the admiration of all.
For the Guild of Armourers, Donatello executed a most animated figure of St. George, in his armour. The brightness of youthful beauty, generosity, and bravery shine forth in his face; his attitude gives evidence of a proud and terrible impetuosity; the character of the saint is indeed expressed most wonderfully, and life seems to move within that stone. It is certain that in no modern figure has there yet been seen so much animation, nor so life-like a spirit in marble, as nature and art have combined to produce by the hand of Donato in this statue.[3] On the pedestal which supports the tabernacle enclosing the figure, the story of St. George killing the dragon is executed in basso-rilievo, and also in marble: in this work there is a horse, which has been highly celebrated and much admired: in the pediment is a half-length figure of God the Father, also in basso-rilievo.[4] This master likewise executed the tabernacle for the Mercatanzia, which is
- ↑ A work highly praised by Michael Angelo, and which also still remains.
- ↑ From certain records extracted from the Book of the Joiners’ Guild, and published by Gualandi (Memorie delle belle Arti, serie iv, p. 104-7), it appears that Donatello undertook this work without the assistance of any other artist, although Niccolò d’Arezzo was sent to Carrara to purchase the marble. For further details, see Gualandi, ut supra.
- ↑ A long and erudite discourse on this statue was written by Francesco Bocchi, about the year 1571. It was printed by Marescotti in 1584, with the title of Eccellenza della Statua di San Giorgio di Donatello, etc., and was reprorlneed in the Lettere Pittoriche. Engravings of the statue will be found in D’Agincourt and Cicognara.
- ↑ These bassi-rilievi are now in the last niche on the north side.
