Painting illustrated in three diallogues containing some choice observations upon the art together with the lives of the most eminent painters from Cimabue to the time of Raphael and Michael Angelo : with an explanation of the difficult terms.

The LIFE of DONATO, A Florentine Sculptor.

DOnato, who was likewise called Dona∣tello, and subscribed himself so in some of his Works, was Born at Flo∣rence, in the Year 1303, and applying himself to the Art of Designing, proved, not only a most excellent Sculptor and Statuary, but like∣wise was very intelligent in Perspective, Archi∣tecture, and all manner of Stucco-Work: His Works have so much Design, Truth, and Grace in them, that they seem with reason, to be liker the best things of the Greeks and

Romans, than of any others: Which without difficuly, gives him the first Rank among the Sculptors; he was the first that understood how to put Story in Use in Basso Relievos; in which he showed so much Ease and Mastery, that he may be said to have had the true un∣derstanding of that part of Sculpture. So that not only in his Life time, but even in our Age, none have come near him in that kind.

Donato was brought up from a Child in the House of Ruberto Martelli, and for the sweet∣ness of his Temper, and the excellency of his Genius, was not only always beloved by him, but also, by all that Noble Family.

He wrought many things while he was Young; but that vvhich first made him knovvn, vvas the Annuntiation of the Angel to the Virgin Mary, all of Grey Stone; vvhich is upon the Altar in the Chappel of the Ca∣valcanti in Sancta Croce in Florence. This he a∣dorned vvith a Border of Grottesk-Work, adding to it six boys, vvho hold Festoons of Flovvers,

and seem to hang together out of fear of fal∣ling from so high a place; but particularly, he shovved great Art in the Figure of the Vir∣gin, vvho something frighted vvith the sud∣den apparition of the Angel, turns herself to∣vvards him vvith a fearful Modesty, and in her Countenance is all that Humility and Gratitude vvhich so great a Favour must needs fill her vvith. The Drapery both of our La∣dy and the Angel, is made in Masterly Fold∣ings; in vvhich Donato vvas already aiming at the great Art of the Antients, vvhose Fold∣ings are so Skilful, that though they are made to hide the Naked, yet they seem to discover it.

In the same Church; near the Story paint∣ed by Taddeo Gaddi, he made a Crucifix of Wood, in vvhich having taken an infinite deal of pains, and being pleased vvith it as a rare thing, he shovved it to Philippo Bruneleschi, an Architect, his Intimate Friend, desiring his Opinion of it; Philippo, vvhose Expectation had been raised by the vvords of Donato, smi∣led

a little at the sight of it, finding it much below the Excellency Donato had given it; which being observed by Donato, he begg'd of him, that he would, according to the Friend∣ship that was between them, tell him truly his Opinion of it: to which Philip, who was very frank in his Nature, answered, that his Opinion was, that he had put upon the Cross the Body of some Peasant, and not one like our Saviours, who 'tis probable, was the most perfect, and finest shaped and proportioned of any that ever was Born. Donato seeing him∣self smartly touched instead of Commenda∣tions, which he expected, could not forbear re∣plying, that it was not so easie to make a Cru∣cifix as to Judge of one; and that if Philippo had tryed, he would then think his Christ a Christ, and not a Peasant; therefore, said he, take a piece of Wood, Philip, and try. Philip, vvith∣out replying, let the Discourse fall; and be∣ing come home, betook himself secretly to vvork a Crucifix, and in some Months finished

it, having strove to surpass Donato, that he might justifie the Judgment he had made of his. This done, one Morning he invited Do∣nato to Dine with him, who accepted the In∣vitation; and as they were going together, being come to the old Market-place, Philip bought some little things for Dinner, and giv∣ing them to Donato, desired him to go before, and he would follow as soon as had dispatched a little Business, which would be presently done: Donato did so, and being come into the House, the first thing he saw in a low Room, was a Crucifix placed in a very good Light; having considered it a while, he found it so well finished, and perfect in all kinds, that be∣ing seized with Astonishment, he opened his hand, and let fall the Apron where were the Eggs and Fruit, continuing still his Admira∣tion without minding them: upon which Philip coming in, said smiling, What do you mean, Donato! What shall we have for Din∣ner to day, now you have let it all fall upon

the Ground? I for my part, said Donato, have had my share already, but no more words; I must own that it is thy Gift to make a Christ, mine to make a Peasant.

Donato made likewise in Saint John's Church in the same City, the Sepulture of Pope John Coscia, who was Deposed from the Popedom by the Council at Constance: Cosimo of Medicis, in whose House this Pope lived and died, caused Donato to make this Tomb. He made the Fi∣gure of the dead Pope in Bronze, and the Sta∣tues of Hope and Charity in Marble; and Miche∣lozzo his Schollar made that of Faith. Over a∣gainst this Work in the same Church, is a Mary Magdalen of Wood, so admirably well done, as being consumed with her Pennance and Hardship, that she appears nothing but Skin and Bone; and is a Master-piece of Dona∣to's. He worked as much with his Brain as with his Hands; for he made his Figures so to the Place and Light where they were to stand, that out of it they did not seem half to Beau∣tiful;

whereas on the contrary, we see many other Artists, who make things very fine in their Working-Rooms, which being remo∣ved from thence, appear worse a great deal.

He made for the COMPANY of WEAVERS the Statue of Saint Mark the Evangelist, and it was at first undertaken by him and Bruneleschi together; but at last, by the consent of Bruneleschi, he finished it a∣lone; this Figure was wrought with so much Judgment, that being upon the Ground, and not placed where it was to stand, it had like to have been refused by the Masters of the Company, for want of Skill to understand its true Beauty: but Donato perswaded them at last, to let him set it up, telling them, that he would take some more pains with it when it was up, and did not doubt but to please them; accordingly, he made a Scaffold, and covered the Figure for a Fortnight, as if he had been at work about it; at the end of which time

he opened it, and filled every body with ad∣miration at the Excellency of it.

He made likewise in the Front of Sancta Maria del Fiore, four Figures of about five Palms high: two of which, made after the Life, are in the middle; and one is Francesco So∣derini, who was then a Young Man; and the other, Giovanni di Barduccio Cherichini, Nick∣named Il Zuccone: and it being as fine a thing as any Donato ever made, he was likewise so much pleased with it, that when he had a mind to be believed in any thing he said, he would, instead of affirming it by an Oath, say only, By the Love I bear to my Zuccone: and while he was working of it, being often plea∣sed with his success in that Statue, he would stand and look upon it, and then say these words in Italian, Favella or su Favella, O ti venga il caca sangue: Which is in English, Speak, a Plague take thee, speak.

For the Lords of the City of Florence, he made in Cast-Mettal, the Story of Judith cut∣ting off Holofernes's Head: and in the Looks of

Judith it was easie to see the greatness of her Mind, and the Assistance from above; as like∣wise in the Air of Holofernes, oppressed with Wine, Sleep, and Death, the spreading of a Faintness all over upon the decay of his Spirits, which made his Members look weak and lan∣guish'd: The Basis likewise is a Balusted of Granite-Stone, of a plain Order, but very grace∣ful. Donato was so pleased with this piece, that he wrote his Name under it in these words, Donatelli Opus: Which he had not done yet to any other piece of his.

He made many things for the Family of Medicis: Cosimo of Medicis, who was then the Head of that Family, employing him conti∣nually. 'Tis reported, that by the Recom∣mendation of Cosimo, he made a very fine head of Bronze for a Genouese-Merchant, and made it very thin, and polished it, because it was to be carried a good way: when it was finished, Donato and the Merchant not agreeing about the Price, the thing was referred to Cosimo,

who the better to view the Head, placed it in his Court upon a Marble Balustead that looked down into the Street; and desiring to make up the difference between them, he found the Genouese far from Reason on his side; and argu∣ing, that what he offered already, would a∣mount to above half a Florin a day for the time that Donato had been about it; which he thought was enough for a man of his Sort. Donato at this was transported with Anger, and turn∣ing to the Merchant, told him, that in a mi∣nute he could spoil the work of a whole year; and thereupon struck the Head so, as it fell over into the Street, and broke in twenty pieces. The Merchant then repenting of his foolish Parcimony, offered him twice as much to make another: but Donato obstinately refu∣sed it, telling him that Statues were not to be bought by the Days-work, nor by the Pound, as other Merchandize. And though Cosimo himself joyn'd his Intreaties to the Mer∣chant's, yet he could not prevail with him to make another Head.

In the Family of the Martelli there are ma∣ny Stories of Marble and Bronze of his doing; but particularly, a Saint John of Marble, of three Palms high, and perfectly finished by him: it was reputed by them so rare a piece, that it was made a Fidei Commissum: so as it can never be Sold or Mortgaged by any of the Fa∣mily: And this they did to perpetuate the Memory of the mutual Kindness that was be∣tween Donato and that Family, under whose Roof he had been Bred, and learned his Profes∣sion.

Much about this time, the City of Venice having heard of the Fame of Donato, sent for him to make something in the Honour of Guatema Lata, a Citizen of Padoua: and accor∣dingly, he made the Horse and the Figure up∣on it which is in the place of Saint Antonio; where he equally Succeeded in expressing the Courage and Boldness of the Rider, with the Fierceness and Mettle of the Horse. And though the Figure be of Cast-Mettal, and large, yet in Motion, Design, Art, Proportion, and Dili∣gence,

he appears equal to any of the Antient Artificers, and far surpassing all those of his Time, who were astonished at the greatness of his Genius: the City of Padoua used all their Endeavours to make him their Citizen, and oblige him to settle amongst them; which to obtain, they agreed with him to make the Story of the Life of Saint Anthony, of Basso Re∣lievo, upon the Border of the great Altar: which he performed with such variety of Composition, and such an abun∣dance of Figures and Perspectives, that the Masters of the ART do this day admire them.

While he was at Padoua, a Florentine Priest, who was Chaplain to a Nunnery, desired him to make a Saint Sebastian of Wood for their Church; and at the same time brought him an old, ill favoured, mishapen thing, desiring him to make it like that: which he endea∣vouring to do, to humour them, could not help nevertheless, the showing some Mastery

in it, though it were as like the old one as pos∣sible. Many other Works he did at Padoua, where he was continually admired and ap∣plauded; which made him resolve to return to Florence, saying, That if he should stay any longer in a place where he heard nothing but high Commendations of himself, he should forget all that he had ever learn't; therefore he would go home, that he might hear him∣self blamed sometimes; that being the grea∣test Spur an Artist could have to Improve∣ment.

Being returned to Florence, he wrought an Infinity of excellent things in all kinds, both in Marble, Wood, Stone, and Bronze: the chief of which are in the House of Medicis, and those of other of the Nobility. It may truly be said of him, that he was the Father of Sculp∣ture, being the first that brought the Works of the Antients in Repute, and sought them out where they lay neglected, taking the pains to mend them and set them in order, as he did with his own hand all.

In a word, Donato was so excellent in all the parts of a great Sculptor, that he deserves the highest Commendations; and the rather, be∣cause in his time there were very few Antiqui∣ties discovered. He was, as to his own Dis∣position, the most Obliging and Generous that could be, not valuing Money in the least; for he used to put that which he re∣ceived into a little Basket, which hung fix'd to the Ceiling by a Pully; and there any of his Friends and Schollars used to take what they wanted, without so much as acquainting him with it: therefore when he grew Old, and not able to work, he was fain to accept of the Generosity of Cosimo of Medicis, and other Friends. 'Tis said, that Cosimo dying, recom∣mended him to his Son Piero; who being very careful to execute his Father's Will, bestowed a little Countrey Farm upon him, which he might very well live out of: and Donato was overjoyed at it, thinking that now he was provided for, and needed not to fear Starving:

Starving; but for all that, he did not keep it above a Year before he gave it back again to Piero by a publick Contract, saying, he would not loose his Quiet; which he must do if he kept it; for every two or three days, the Far∣mer was at him for some Dammage or Repa∣rations; sometimes the Wind had untiled the House, sometimes his Cattle was pounded or died: To all which Donato not being used, re∣solved to be rid of him and the Land together. Piero of Medicis laughed heartily at his Com∣plaints, and taking the Land again, assigned him a Rent-Charge of the same value upon his Bank at Florence; which was paid him every Week to his great Content: and so he made an end quietly of his Old-Age, in the eighty third year of his Life, and in the Year 1466.

He was Buried in San Lorenzo, next to the Body of Cosimo di Medicis, being very honou∣rably Interred, and Accompanied to his Grave by all the Artists, and the best part of the Peo∣ple of the City.

One thing I must not forget to tell of him in his last Sickness; which was, that some of his Relations came about him, to perswade him to leave them a little Countrey House and Land, of a very small Value, which he had near Prato, telling him, he ought in that to gratifie them, as being next a Kin to him: Donato hearing them out, told them, that he was sorry he could not oblige them in their Request, being resolved to bestow it upon the poor Countrey-Man who had always looked to it, and endured pains enough about it: Thinking that a more reasonable Disposition, than to give it them for a Visit which they now made him when he was a dying, to no other end than to get what they could out of him.

As for all the things belonging to his Art, he distributed them among his Schollars; the famousest of which were, Bertoldo, a Florentine Sculptor, Il Rosellino Desideio, and Vellano di Pa∣doua. And indeed, since his Death, who ever has aimed at excelling in Relievo, must have

studied his Works; the number of which is so great, that no Artist ever wrought so much as he did; which was a great happiness for Sculpture; the great variety of his underta∣kings being so many Lessons of all kinds in that Profession; in which he showed both Invention, Design, Practice, Judgment, Strength, Sweetness; and in a word, all the parts of a Divine and Wonderful Artist.

FINIS.