Alinari
ST. JOHN THE EVANGELIST
CATHEDRAL, FLORENCE
St. John the Evangelist and the marble David.
The third great statue made for the façade by Donatello is now placed in a dark apsidal chapel, where the light is so bad that the figure is often invisible. This is the statue of St. John the Evangelist, and is much earlier than Poggio, having been ordered on December 12, 1408. Two evangelists were to be placed on either side of the central door. Nanni di Banco was to make St. Luke, Niccolo d'Arezzo St. Mark, and it was intended that the fourth figure should be entrusted to the most successful of the three sculptors; but in the following year the Domopera changed their plan, giving the commission for St. Matthew to Bernardo Ciuffagni, a sculptor somewhat older than Donatello. Ciuffagni was not unpopular as an artist, for he received plenty of work in various parts of Italy; but he was a man of mediocre talent, neither archaic nor progressive, making occasional failures and exercising little influence for good or ill upon those with whom he came in contact. He has, however, one valued merit, that of being a man about whom we have a good deal of documentary information. Donatello worked on the St. John for nearly seven years, and, according to custom, was under obligation to complete the work within a specified time. Penalty clauses used to be enforced in those days. Jacopo della Quercia ran the danger of imprisonment for neglecting the commands of Siena. Torrigiano having escaped from England was recalled by the help of Ricasoli, the Florentine resident in London, and was fortunate to avoid punishment. Donatello finished his statue in time, and received his final instalment in 1415, the year in which the figures were set up beside the great Porch. This evangelist, begun when Donatello was twenty-two and completed before his thirtieth year, challenges comparison with one worthy rival, the Moses of Michael Angelo. The Moses was the outcome of many years of intermittent labour, and was created by the help of all the advances made by sculpture during a century of progress. Yet in one respect only can Michael Angelo claim supremacy. Hitherto Donatello had made nothing but standing figures. The St. John sits; he is almost inert, and does not seem to await the divine message. But how superb it is, this majestic calm and solemnity; how Donatello triumphs over the lack of giving tension to what is quiescent! The Penseroso also sits and meditates, but every muscle of the reposing limbs is alert. So, too, in the Moses, with all its exaggeration and melodrama, with its aspect of frigid sensationalism, which led Thackeray to say he would not like to be left alone in the room with it, we find every motionless limb imbued with vitality and the essentials of movement. The Moses undoubtedly springs from the St. John, transcending it as Beethoven surpassed Haydn. In spite of nearly unpardonable faults verging on decadence, it is the greater though the less pleasing creation of the two. The St. John surveys the world; the Moses speaks with God.
Alinari
MARBLE DAVID
BARGELLO, FLORENCE
The fourth statue made for the Cathedral proper is contemporary with the St. John. The marble David, ordered in 1408 and completed in 1416, was destined for a chapel inside the church. The Town Commissioners, however, sent a somewhat peremptory letter to the Domopera and the statue was handed over to them. It was placed in the great hall of the Palace, was ultimately removed to the Uffizzi, and is now in the Bargello Museum. The David certainly has a secular look. This ruddy youth of a fair countenance, crowned with a wreath, stands in an attitude which is shy and perhaps awkward, and by his feet lies the head of Goliath with the smooth stone from the brook deeply embedded in his forehead. The drapery of the tunic is close fitting, moulded exactly to the lines of his frame, and above it a loose cloak hangs over the shoulders and falls to the ground with a corner of cloth looped over one of the wrists in a familiar way.[12] It would be idle to pretend that the David is a marked success like the St. John. It neither attains an ideal, as in the St. George, nor is it a profound interpretation of character like the Habbakuk or Jeremiah. Its effect is impaired by this sense of compromise and uncertainty. It is one of the very rare cases in which Donatello hesitated between divergent aims and finally translated his doubts into marble.
Statues of the Campanile.
We must now refer to a group of statues which adorn the Campanile, the great Bell tower designed by Giotto for the Cathedral. Not counting the numerous reliefs, there are sixteen statues in all, four on each side of the tower, and in themselves they epitomise early Florentine sculpture. Donatello's statues of Jeremiah, Abraham, and St. John the Baptist offer no difficulties of nomenclature, but the Zuccone and the Habbakuk are so called on hypothetical grounds. The Zuccone has been called by this familiar nickname from time immemorial: bald-head or pumpkin—such is the meaning of the word, and nobody has hitherto given a reasoned argument to identify this singular figure with any particular prophet. As early as 1415 Donatello received payment for some of this work, and the latest record on the subject is dated 1435. We may therefore expect to find some variety in idea and considerable development in technique during these twenty years. Donatello was not altogether single-handed. It is certain that by the time these numerous works were being executed he was assisted by scholars, and the Abraham was actually made in collaboration with Giovanni di Bartolo, surnamed Il Rosso. It is not easy to discriminate between the respective shares of the partners. Giovanni was one of those men whose style varied with the dominating influence of the moment. At Verona he almost ceased to be Florentine: at Tolentino he was himself; working for the Campanile he was subject to the power of Donatello. The Prophet Obadiah, which corresponds in position to the St. John Baptist of Donatello on the western face of the tower, shows Rosso to have been a correct and painstaking sculptor, with notions much in advance of Ciuffagni's; noticeable also for a refinement in the treatment of hands, in which respect many of his rivals lagged far behind. Judging from the inscription at Verona, Rosso was appreciated by others—or by himself:[13] he is, in fact, an artist of merit, rarely falling below a respectable average in spite of the frequency with which he changed his style.
St. John the Baptist.
Rosso does not compare favourably with Donatello. Obadiah is less attractive than St. John the Baptist, its pendant. The test is admittedly severe, for the St. John is a figure remarkable alike in conception and for its technical skill. Were it not for the scroll bearing the "Ecce Agnus Dei," we should not suggest St. John as the subject. Donatello made many Baptists—boys, striplings and men young and mature: but in this case only have we something bright and cheerful. He is no mystic; he differs fundamentally from the gloomy ascetic and the haggard suffering figures in Siena and Berlin. So far from being morose in appearance, clad in raiment of camel's hair, fed upon locusts and wild honey, and summoning the land of Judæa to repent, we have a vigorous young Tuscan, well dressed and well fed, standing in an easy and graceful attitude and not without a tinge of pride in the handsome countenance. In short, the statue is by no means typical of the Saint. It would more aptly represent some romantic knight of chivalry, a Victor, a Maurice—even a St. George. It competes with Donatello's own version of St. George. In all essentials they are alike, and the actual figures are identical in gesture and pose, disregarding shield and armour in one case, scroll and drapery in the other. The two figures are so analogous, that as studies from the nude they would be almost indistinguishable. They differ in this: that the Saint on the Campanile is John the Baptist merely because we are told so, while the figure made for Or San Michele is inevitably the soldier saint of Christendom. It must not be inferred that the success of plastic, skill less that of pictorial, art depends upon the accuracy or vividness with which the presentment "tells its story." Under such a criterion the most popular work of art would necessarily bear the palm of supremacy. But there should be some relation between the statue and the subject-matter. Nobody knew this better than Donatello: he seldom incurred the criticism directed against Myron the sculptor—Animi sensus non expressisse videtur.[14] The occasional error, such as that just noticed, or when he gives Goliath the head of a mild old gentleman,[15] merely throws into greater prominence the usual harmony between his conception and its embodiment. The task of making prophets was far from simple. Their various personalities, little known