Donatello - Knowledge

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at there originally intended place in the tympanum, Donatello was told to rework his already begun annunciation angel into a prophet figure. The statue he was paid for and is now in the cathedral museum, has several remaining features of a Gabriel that are not to be found in prophet figures. First of all prophets were always shown as old men and with a scroll as their main insignia, which Donatello obviously couldn't add anymore. The figure was originally in three-quarter view, turned to the right stepping forward (towards Mary), the parts not supposed to be seen are not worked out, especially around his left foot (See Janson 1957 II, pl. 473a and b). Finally he carries a wreath of leaves on his head which is unusual for a prophet but suits an angel. For the former angel to be installed on the pinnacle some profile of the wall behind it had to be cut off. Nanni di Banco followed him in this accidentally new concept of a prophet figure, but his was suited for the other pinnacle, adding a scroll and not adapting the wreath. - Today the tympanum is decorated with a mosaic of the

2272: 2608: 939: 40: 909: 2666: 924: 897: 515: 2188: 2550: 1058: 2620: 1003: 856: 2011: 2524: 1118: 957: 2374: 713: 558: 2316: 2505: 1870:, perhaps echoing a comment by Alberti, wrote that the paired figures on the doors looked like fencers; he referred to the apostle doors, though the remark is more fairly applied to the martyrs, most of whom hold thin palm fronds. We do not know how Donatello felt about his finished scheme, but he never used painted stucco again; nor did anyone much else, as within a few years the Della Robbia workshop had perfected painted and glazed terracotta in large pieces, as in the Pazzi Chapel, which was clearly the better technique. The reception of the scheme has been suggested as a factor in Donatello's readiness to abandon Florence for a long period. 1827: 1654: 2100: 2642: 1532: 876: 1042: 2566: 2581: 1744: 1981: 5434:" from "c. 1450-55", noting that the attribution to Donatello is not recorded before 1745 "when almost all Florentine Quattrocento sculpture was, in confused fashion, ascribed to the Father of the Renaissance" (p. 126). Janson, 1957, 237–40, rejects the attribution to Donatello and hints at Desiderio da Settignano and followers in the 1460s–70s, due to the specific backward tilt of the head; among others he cites Ulrich Middeldorf who denies any artistic quality and speaks of a "complete lack of style in the modeling of the face." (Middeldorf, review of Hans Kauffmann, 1202: 1884: 2224: 978: 7001: 1417: 1194:, who is mainly remembered as an architect, but was also a sculptor, especially of smaller-scale works in metal. He had trained with the mint making dies for coins, where he still had a salaried position. Michelozzo was the younger by about ten years, and they had probably known each other for years. Michelozzo wanted to extract himself from an arrangement with Ghiberti, and Donatello had too much work, and was poor at organizing a workshop, at which Michelozzo seems to have excelled. Both had very good relations with the 1666: 2490: 1460: 149: 685: 1289:, mostly for homes, had long been a staple for Italian painters, and becoming affordable ever lower down the income scale. Now sculptors were producing them as reliefs, in a variety of materials, and with the cheaper terracotta or plaster ones often painted. The attribution of the large numbers of such images is often difficult, especially as the style of Donatello and contemporaries such as Ghiberti continued to be used for them for a long time. 5968: 466: 709:, which was in the process of turning itself from a grain market to a church on the ground floor, still with offices above. There were 14 niches around the outside, and each of the main guilds was responsible for one, normally choosing their patron saint. The location had the advantage that the niches were much lower than on the cathedral, with the feet of the statues some three metres above ground level. 337:

parts of a piece over to them, but Donatello, who would perhaps not have been good at managing a large workshop like that of Ghiberti, seems to have had at most times a relatively small number of experienced assistants, some of whom became significant masters in their own right. The technical quality of his work can vary, especially in bronze pieces, where casting faults may occur; even the bronze

2263:) is a round bronze relief, 28.5 cm across, which is cast at an even thickness, meaning that the reverse has an intaglio (concave) image matching the convex relief one on the front. This seems to have been intended to be used as a mould for molten glass and perhaps other materials. Donatello gave it to his doctor and friend Giovanni Chellini in 1456, though it was probably not new at that point. 1923:

inside the church, where he was indeed buried. It was unexpected that the Venetian government then ordered a grand public monument for a general who had served them for less than a decade, with rather mixed success. The cost, which must have been enormous, was shared by the Venetian government and the family executors, who handled the works, but it is not clear in what proportions.

842:, which features in a famous story in Vasari. It portrays a very realistic Christ in a moment of agony, eyes, and mouth partially opened, the body contracted in an ungraceful posture. According to the story, Donatello proudly showed it to Brunelleschi, who complained it made Christ look like a peasant, at which Donatello challenged him to do something better; he then produced the 1819:, has a landscape background. All use a colour scheme of white for the figures, different shades of a terracotta brown for the settings, and the muddy blue-grey for the sky. There are also two large reliefs of pairs of standing Medici patron saints over the doorways, in the same technique and colours. In different places, the stucco was painted both when wet, in a kind of 797:. It is technically very unusual, as it was built up from a number of sections cast and gilded separately, necessitated by the difficulty of fire-gilding a whole over-life size figure. The collaboration with Michelozzo may have begun with this piece, and 1423 marks the beginning of Donatello's documented work in bronze, with three recorded commissions that year: the 767:-makers or armourers; the important relief on the base is discussed below, and was slightly later. Because of a staircase on the other side of the wall, the niche is shallower than the others, but Donatello turns this to his advantage, pushing the figure forward into space, and with the "anxious look" on the face suggesting alertness or 2350:) of some figures, which Vasari himself later drew on; but he is evidently unaware that Raphael took them from a Donatello church relief in Padua. He also places Donatello's birth in 1403, some seventeen years after better-informed modern scholars, aware of the record of the assault in 1401, and payments for work going back to 1406. 1339:, was displayed to the population from a high pulpit. This took place five times every year, one coinciding with a trade fair that was important for the city's economy. The commission began in 1428, but Donatello did not begin work on his allotted areas for years, despite relentless chasing by the Prato authorities, and finally 2215:, and there is considerable stylistic disparity between panels, and sometimes sections of the same panel. The treatment of the spaces in which the scenes are set is especially varied and experimental, part of "the absolutely uncompromising use of every possible means to express emotion and suffering" that marks these works. 1999:, and several assistants. Decades later Padua was for some time the leading Italian centre for small "table bronzes", which was probably partly a legacy of the stimulus given by Donatello's visit. He did not stay in the city the whole time, and he is documented in Florence at some points, and in 1450 is recorded visiting 1938:, another condottiere, by two Florentine sculptors, one a pupil of Donatello. This was slightly smaller than life-size, with the marquis in civilian dress rather than armour. He had died at the end of 1441, and the monument was in place by 1451, before being destroyed by the French in 1796 (a replica is now in place). 2396:, Luca della Robbia and others. Many younger sculptors assisted him, though his workshop relationships are not very well documented, and recent scholarship has cast doubt on many 19th-century claims (some from Vasari) of other sculptors as "pupils" of Donatello. Regular assistants in Donatello's later years included 771:, "the quality above all others singled out for praise in the successive Renaissance eulogies of the work". Holes and the shape of a hand suggest that the figure was originally fitted with a wreath or helmet on his head, and carried a sword or lance; the client would have been able to supply these pieces in bronze. 450:, 25 miles from Florence and then controlled by it, of hitting a German with a stick, drawing blood. He was probably there with his father, who had an official job in Pistoia at the time, while Buonaccorso Pitti was the Captain, or governor. While there Donatello appears to have befriended, and perhaps worked with, 605:, which occupied a niche of the old cathedral façade until 1588, and is now in the cathedral museum. This was placed with the base about 3 metres from the ground, and Donatello adjusts his composition with this in mind; since 2015 it and other cathedral sculptures have been displayed at their original heights. 742:-weavers guild. Viewing the finished statue at ground level, the weavers did not like it. Donatello got them to put it in its niche and cover it up while he worked to improve it. After two weeks under cover, he showed it in position, without having done any work on it, and they happily accepted it. It has a 1520:. The figure has wings and a tail, stands on a snake, and has a variety of classical attributes, too many for a simple identification. He wears leggings that emphasize rather than hide his private parts. In the 17th century it was taken to be a work of antiquity, despite a clear description of it by Vasari. 4137:

group for the tympanum of the portal, because an already finished ensemble probably by Giovanni d'Ambrogio was to remain inside the cathedral due to its beauty, after it was disposed there while the portal was still under construction. When it was decided nevertheless in 1414 to install these statues

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Donatello's output was so varied and individual that his influence can be seen in all Florentine sculpture in the 15th century, and well beyond Florence. But he shared important elements of his style, in particular his revival of classical forms and styles, with the other outstanding sculptors of his

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After returning from Siena he remained in Florence until his death in 1466. He was evidently unable to work for a period, of uncertain extent, before his death; Vasari records this, but without any timing. But, with the help of assistants, he embarked on a major project in these years, reliefs that

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long in the Florence Baptistery (now Museo dell'Opera del Duomo), where the carving style is comparable. This is "formidably expressive" in a stark style found in Donatello's last years, and had been dated to around 1456, until the date was found on the other figure; it is now dated generally to the

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was mostly researched in the 1540s, around a century after the events he recounts, and contains some clear and significant errors of fact. It fully recognises Donatello's stature as an artist, and lists many works. His knowledge of those in Padua and Siena appears shaky, and may rely on the accounts

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Other than tomb effigies, there is no sculpture by Donatello that is certainly intended to be a portrait. Some of his early statues of prophets for the cathedral were said to use the features of specific individuals. Donatello probably never saw Gattamelata alive, and may not have had any good image

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was Donatello's last major project before his years in Padua, and forms the only large space almost wholly decorated by him. Opinions have varied as to the success of his scheme ever since. The various parts combine experimentation in some places and conservatism in others, and the whole has failed

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on the construction of a defensive dyke and wall, and later in the year visited Pisa, Lucca again and finished the year in Rome, where he spent much of his time until 1433. Some of this travel was to see antiquities, and political difficulties had greatly reduced the flow of commissions in Florence.

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Any part played by the adolescent Donatello, presumably assisting Brunelleschi with his trial piece, is unknown. After the final result in late 1402, or early 1403, they seem to have left for Rome together, staying until at least the next year, to study the artistic and architectural remains left by

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and the earlier Pomponio Gaurico says that he kept a bucket containing money hanging on a cord from the ceiling of his workshop, from which those around could take if they needed it. A tax return from 1427, near the peak of his career, shows a much lower income than Ghiberti's for the same year, and

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explore similar expressive effects. His periods in Padua and Siena left behind trained bronze-founders and sculptors who made these cities, especially Padua, significant centres in their own right; indeed, in Padua his presence had a great effect on local painting also. Bartolomeo Bellano was back

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there, wood was chosen. The statue is probably the only work by Donatello in the city. He usually did not sign his work, except for some commissions destined for outside Florence. The baptist was signed and dated 1438. Before this was revealed in conservation work it had been dated later, after his

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frieze (see below), they are not believed to have actually been carved by him. The Prato authorities were unhappy, and the ten years it had taken to get them finished seems to have strained relations with Michelozzo, and the partnership was not renewed in 1434. The two remained on amicable terms,

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adjoining the cathedral, as well as complete a row on the cathedral facade (in which Donatello was not involved). All the figures for the campanile series were removed in 1940, to be replaced by replicas with the originals moved to the Museo dell'Opera del Duomo. They were placed very high, and so

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in Venice. Andrea del Caldiere, a Paduan metalworker, led the team doing the actual casting for this and his other Paduan bronzes. Other equestrian statues, from the 14th century, had not been executed in bronze and had been placed over tombs rather than erected independently, in a public place.

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Padua was a prosperous city with a university, long under the control of Venice, and generally friendly to the Medici and their artists; Cosimo had almost certainly given his blessing to Donatello's stay. The commission is slightly mysterious; Gattamelata's will specified a relatively modest tomb

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Donatello's reliefs of dancing children for the pulpit, "a veritable bacchanalian dance of half-nude putti, pagan in spirit, passionate in its wonderful rhythmic movement", were finally delivered in 1438, and it seems that though designed by Donatello, perhaps using his first idea for the Florence

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and Medici supporters. Donatello made the recumbent bronze figure of the deceased, and Michelozzo, with assistants, the several figures in stone. The tomb, elegantly integrating a variety of elements into a narrow vertical space, in a classicizing style, made a great impact and "became the model

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He was said to hire especially beautiful boys, and "stained" them (probably meaning make-up) so that no one else would find them pleasing; when one assistant left after a quarrel, they made up by "laughing" at each other, a slang term for sex. However, no detail is known with certainty about his

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Donatello's "innovation ... is the transformation of the King of Israel into a young Greek god", in "a work of almost incredible innovation, which nothing else in the art of the time leads us to anticipate ...during the rest of the century in continues to be far beyond the current of contemporary

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Michelozzo was also with Donatello in Rome for some of the time, but the few products there of the visits lead art historians to describe the visits as mainly resulting in studying classical works. It is not clear whether anything was actually made there, or executed in Florence and shipped down.

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Both Donatello and Brunelleschi returned to Florence in early 1401, in time for Brunelleschi to take part in the famous competition for the Baptistery doors, often seen as the start of Florentine Renaissance sculpture. Seven sculptors were invited to submit trial panels, for which they were paid;

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All sources agree that he carved stone and modelled clay or wax for bronzes very quickly and confidently, and art historians feel able to distinguish his hand from that of others, even within the same work. Italian Renaissance sculptors nearly always used assistants, with the master often giving

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Wood was still used for crucifixes for its lightness. It was also cheap and convenient for carrying it on liturgical processions. Donatello's early crucifix for Santa Croce has lowerable arms for this purpose. Wooden sculptures were almost always painted and partly gilded (as terracotta and even

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abandon, and the childish character of their bodies is forgotten in our sense of their liberated animal life. If in a photograph we cover their heads our first glance reveals a Bacchic sarcophagus more intricate and vigorous than anything in antique art; and only on looking more carefully are we

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This is placed low, the bottom at about the level of the viewer's knee, and the relief allows for that. The composition has figures in three receding planes defined by the architecture. At left Herod recoils in horror as he is presented with John the Baptist's head on a platter; to the right of

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for Orsanmichele. The figures project slightly forward, but "by skilful overlaps are brought back into a tightly-stretched unified skin-plane which is scarcely broken in surface relief to suggest a deep, though not limitless, space". The relief does not provide a "completely coherent system of

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designs and perhaps other works these were his whole contribution. Vasari claimed to have several in his collection, which he praised highly: "I have both nude and draped figures, various animals which astound anyone who sees them, and other beautiful things..". But very few, if any, surviving

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The scheme received criticism, by now rather unusual for Donatello, from very early on. The modelling and execution of some of the reliefs was crude, especially the scenes from John's life, and it is often thought that the various added elements distract from the simplicity and harmony of the

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about to strike a second blow. Relief scenes on the triangular base seem to show the drunken feast and revels that preceded the killing, in a final outing for Donatello's sensual mode. However, most of the younger revellers have wings. Donatello used real cloth to give texture in some of the

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and Brunelleschi, were the best. An attempt was made to get the two to share the commission, but amid bitter recriminations that lasted for years, this failed and Ghiberti was given the whole commission. Ghiberti himself on the other hand (and the only contemporary voice) claimed in his

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When he died, the "sweet style" that he had helped to produce decades before, dominated in the work of Florentine sculptors; his "late style, with its boldness of imagination and execution, probably overawed them and seemed incomprehensible and inaccessible". Only many years later did

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Seymour, 36: "The story of the competition for the great doors of bronze is perhaps the most familiar in all Early Renaissance art history"; Coonin, 20: "In most art historical narratives the year 1401 introduces the formal beginnings of a revolution in art, the spark of the so-called

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discussed above. One dances and two play musical instruments. They have been said to be "the first true free-standing figurines of the Renaissance" and were enormously influential, expressing "what was at the heart of the Renaissance—the classical reborn into the Christian".

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were seen from a distance, at a sharp angle, factors which needed allowing for in the compositions, and made "fine detail virtually useless for visual effect"; Since 2015 the museum's new displays show this and other statues for the cathedral at the intended original heights.

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may have acted as a younger colleague, and was the main other sculptor who could execute shallow reliefs in a way comparable to Donatello. He died in 1464 at just 34, cutting off a very promising career. The shallow relief style was not much used by other sculptors, though

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Vasari's claim that Donatello was raised and educated in the house of the prominent Martelli family is probably baseless, and given for literary, even political reasons. They were certainly later keen patrons of Donatello, and also commissioned work from Vasari himself.

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modelling, and perhaps Holofernes' legs were moulded from a live model. It may have been planned as a fountain, as there are spouts at the corners of the base, though there now seems to be no internal plumbing. When the Medici were expelled in 1494 it and the bronze

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taste." The figure shows "a real boy whose chest was narrower and flank less rounded than the Greek ideal", and the "waist is the centre of plastic interest, from which radiate all the other planes of the body", which became the norm in Renaissance nude sculpture.

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in the next century, he tended to accept more commissions than he could handle, and many works were either completed some years late, handed to other sculptors to finish, or never produced. Again like Michelangelo, he enjoyed steady support and patronage from the

507:, then very abundant, though for the most part still buried. They were very early in this effectively archaeological pursuit, which included measuring remains, and hiring labourers to excavate. The main source for this period is the biography of Brunelleschi by 4132:

For the discussion of its identification see Janson 1957, 219-222; Seymour, 51, for the Porta della Mandorla project: 31-35, 51-52 and index; Coonin, 29. Originally Donatello had a commission for two statues, that Francesco Caglioti finally identified with an

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to be laid out; both are still in place. The exact dates of Donatello's involvement are unclear, but it is usually placed after the return from exile of the Medicis in 1434, and Donatello's departure for Pisa in 1443/44, probably at the end of the 1430s.

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After more than one rearrangement, the first in 1582, the original disposition of the statues is uncertain, but they were probably closer together, in one row, than they are now, with two now placed on a railing below and forward of the others.

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A factor in the delay was probably Donatello's travelling, which increased from about 1430, after a long period of steady work and residence in Florence after his return from Rome in about 1404. In 1430 he worked with Brunelleschi at

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Broad, overlapping, phases can be seen in his style, beginning with the development of expressiveness and classical monumentality in statues, then developing energy and charm, mostly in smaller works. Early on he veered away from the

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During Donatello's career, the distinctive Florentine flat-bottomed bust portrait became established and popular among the city's elite, led by the Medici. Donatello is only associated with one example, but this may be the earliest.

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centre Salome is still dancing. In a space behind musicians are playing, and beyond them John's head is presented to two figures, one presumably Herodias. It does not represent a full one-point perspective scheme, as there are two

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on the coast, and the pieces shipped south. A donkey was purchased to help with transport, and in 1426 Donatello had bought a boat to ship marble from Carrara to Pisa. Donatello's personal contribution was probably limited to the

579:, a brilliant sculptor of Donatello's age, who seems to have been both a rival and friend. In the end they were not placed as intended, probably because they appeared too small from far below, and the Donatello appears to be lost. 529:, which probably represented important training for Donatello. Perhaps they were also able to sell excavated sculptures. Brunelleschi subsequently became a highly important architect, while Donatello began his career in sculpture. 281:, and wax, and used glass in inventive ways. He had several assistants, with four perhaps being a typical number. Although his best-known works are mostly statues executed in the round, he developed a new, very shallow, type of 938: 2210:

At least the designs of most of these are thought to have by Donatello himself, and the modelling of many parts; the precise attribution of the reliefs remains much discussed. Some appear to have been cast from unfinished

2069:), portrays the Christ Child being displayed to the faithful by the Madonna, who wears a crown. The Madonna is neither standing nor sitting on the throne but is portrayed in the act of rising. She is flanked by two saints, 671:

with a brick core, then a modelled layer of clay or terracotta, all painted white. This was put in place on the cathedral some time after 1415, and remained until the 18th century; it was known as the "White Colossus" or

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The sacristy was newly built, designed by Brunelleschi, and the first part completed of a major reconstruction of the church by the Medicis. It combined the functions of a Medici funerary chapel, containing the tomb of

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rather than carving much himself, at least in stone. In 1457 he had received three large commissions for the city, of which only one reached Siena. Firstly there were bronze doors for the cathedral, of which only a

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the most threatening. Though the statue certainly was intended to convey this meaning, it also has a sensuous and erotic power that was original. The many previous Florentine images of David, like Donatello's stone

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museum, is his most famous work, and the first known free-standing nude statue produced since antiquity. It is conceived fully in the round, independent of any architectural surroundings, and nearly at life-size.

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From now on he received a series of commissions for full-size statues for prominent public locations. These are now among his most famous works, but after about 1425 he produced few sculptures of this type. His

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drawings are now accepted as probably by his own hand, and these are strong and lively sketches with figures, such as the three in its collections that the French government still attributes to Donatello himself.

1034:(literally "flattened-out"), where all parts of the relief are low. This contrasted with the developing technique of other sculptors who included very high and low relief in the same composition, with Ghiberti's 2047:. All these were begun in 1446 and nearly complete by June 1450, though some of the statues seem not quite finished, and other sculptors seem to have done some of the work. The four reliefs of scenes from the 908: 2163:) with blue glass inlays in the surround, completed in 1459, with much of the work done by another, perhaps the local Urbano da Cortona, who had been pushed aside to allow Donatello to have the commission. 2665: 2304:, with "uncompromising realism", but an expression that "exudes sagacious strength and nobility". However the attribution to Donatello, the dating and foremost the quality of the bust itself are disputed. 6939: 544:

on its north side, a large project that was still some years from completion. He was paid in November 1406 for a figure of a prophet on the door, most probably the one for the left pinnacle (now in the

346: 1383:, and a total of sixteen child-angels at various points in the classicising architectural framework. This "first clearly defines the Early Renaissance wall-tabernacle type" and was very influential. 805:, and the relief for the Siena Baptistery discussed below. Michelozzo had great experience with bronze, and no doubt helped with the technical aspects, and Donatello took to the medium very quickly. 2365:

at the end of his life. Vasari stressed the close ties between Donatello and the Medici, which were certainly important in his life, but also mirrored those Michelangelo and Vasari himself enjoyed.

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The bronze doors were relatively small and had a stack of five panels on each door, each containing a pair of standing figures on a plain background, a conservative design, possibly influenced by

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probably began that year or the next, with the casting mostly done in 1447 or 1448, and the bronze work finished in 1450, although it was not installed on its high stone pedestal until 1453.

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with other saints making up the numbers, and the other has martyrs, who in most cases cannot be confidently identified. The execution is again uneven, with much probably done by assistants.

1633:(1454–1494), a Medici insider as tutor to Lorenzo's children. These tell of Donatello surrounding himself with "handsome assistants" and chasing in search of one that had fled his workshop. 2473:

and Berlin State Museums other pieces; generally the American museums arrived too late on the scene to make many major acquisitions, though they have many pieces with workshop attributions.

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Donatello's inventiveness and search for new effects is shown by his various, mostly novel, uses of glass, a material hardly used in European sculpture before. He was commissioned to design

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Donatello's additions were two pairs of bronze doors with relief panels, and elaborate architectural surrounds for them, and two sets of large relief roundels below the main dome. In the

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and so their powerful supporters. The partnership was very successful, and was renewed until it had lasted for nine years, when a dispute that was mostly the fault of Donatello ended it.

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had been given the commission for the first in 1431, and Donatello for the second in 1433, with his contract promising 20% higher payment if his were more beautiful than della Robbia's.

1390:, which might well not be attributed to Donatello if he had not signed it. It is not clear whether a workshop was opened in Rome, or if these were carved in Florence and shipped down. 7060: 598:. It was "one of the early cases in monumental sculpture where he is portrayed as a youth", rather than the King of Israel, and "teeters between the Gothic and Renaissance worlds". 1949:), in ground then used as a cemetery. As with other works outside Florence, it was signed. It is the first life-size equestrian statue since antiquity. Donatello may have seen the 7293: 2619: 7105: 7055: 2549: 1307: 5939: 624:). The commissions and starts stretched between 1414 and 1423, and while most were completed by 1421, the last of his statues was not finished until 1435. This was the striking 7165: 7090: 5469:

Rubins, 330, in the 2nd edition. This may be a simple typo, as in the life of Brunelleschi he has Donatello (wrongly) entering the 1401-2 competition for the baptistery doors.

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Vasari, a fierce Florentine patriot, saw Donatello as the start of Florentine dominance in Renaissance sculpture, and traced a line of succession between him and his hero

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The breakup of the partnership with Michelozzo seems to have been partly precipitated by Donatello's delays in doing his part in the commission for an exterior pulpit for

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His next major development in this direction was in bronze, still a relatively new medium for him. Ghiberti had been involved from 1417 for a project for the font at the

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It seems likely that Donatello's homosexuality was well known, and tolerated and protected by the Medici and so others. The main evidence comes from anecdotes in the

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was intended for such a place, but proved too heavy to raise and support. Donatello, with Brunelleschi, proposed a large but lightweight solution, and made a prophet

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Olson, 86 (quoted); Avery, 88 suggests a death mask may have been used, but Gammelata was in his seventies when he died, and the face on the statue looks younger.

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In 1415 the cathedral authorities decided to revive and complete medieval projects, and add eight lifesize marble figures for the niches of the higher levels of

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to work from; his figure seems to have a generalized "Caesar-like head" and is "no portrait in the usual sense", but an "idealized portrait of brute power".

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By early 1408 Donatello had acquired sufficient reputation to be given the commission for a life-size prophet for the cathedral, to be paired with another by

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of Brunelleschi wrongly claims that Donatello was one of them, but they were all more experienced figures. Following Vasari and Brunelleschi's biographer

383:

he seems to have died in modest circumstances, although this may not have been of concern to him; "he was very happy in his old age" according to Vasari.

7590: 7278: 4894: 2504: 1085:

perspective" (nor did any Italian work for some five or six years after), but the arcaded hall on the right represents a partial scheme of perspective.

4009: 1230:

for the Quattrocento wall-tomb whenever an elaborate or particular impressive expression was wanted" with variations found well into the next century.

7252: 7216: 7075: 7050: 6845: 6138: 2489: 2461:

in Florence has the main museum collection, including his most famous portable pieces. Hardly any large pieces are outside Italy, but there are many

1864:, Brunelleschi's biographer, Donatello did not consult the architect about the additions to the doorways at all, such was his "pride and arrogance". 1352:

and were to collaborate later. The pulpit reliefs are now replaced by replicas, with the rather weathered originals displayed inside the cathedral.

39: 5895: 5733: 426:

around 1415, any connection he had might still have been useful to Donatello. However, Donatello's father did have a connection with the powerful

2179:

were moved to the Palazzo della Signoria; the Medici were now intended to be seen as the tyrannical victims rather than the liberating underdogs.

590:

may date from around this time, or slightly later, perhaps 1412. He was commissioned to rework it in 1416, the cathedral surrendering it to the

2580: 5891: 5729: 4086:. Princeton Monographs in Art and Archaeology. Vol. 31 (1st Pb. of 2nd ed.). Princeton: Princeton University Press. pp. 277ff. 6093: 6537: 2131: 2104: 1728:

whose small sunken eyes, gazing across the desert, have beheld the vision of God. Her body is no longer of the least importance to her".

1568:

for the older Medici palace on the same street, probably between 1434 and 1440, after Donatello returned from Rome and Cosimo from exile.

5983: 5829: 1935: 701:

Another large-scale sculptural project in the city was the completion of the statues for the niches around the outside of the rectangular

525:

Vasari just repeats a shorter version of Manetti's account, according to which both men were able to support themselves by jobs for Roman

846:. At the time Brunelleschi's more classical figure was probably considered to have won the contest, but modern tastes may dispute this. 5988: 4481: 6986: 6697: 6679: 2248:

reliefs, which was an old style, but his background of a network of roundels with glass-covered wax and gold inlays for the terracotta

1173: 6130:, exhibition at the Victoria and Albert Museum in 2023, previously at Palazzo Strozzi and Museo del Bargello, Florence (2022), and at 1182:

At all times Donatello and his workshop made more conventional reliefs, at a variety of depths and sizes, and in different materials.

7704: 2240:

for Florence Cathedral around 1434, a conventional task, but one usually given to a painter rather than a sculptor. He used glass in

6135: 566:

for the cathedral, 1409–1411, displayed on the reconstruction of the old façade at original height in the Museo dell'Opera del Duomo

395:

tax declaration; he claimed to be 41 years old in July 1427. He was the son of Niccolò di Betto Bardi, who was a "wool-stretcher" (

3702: 1963:(c. 175) in Rome. Donatello's work is strongly classicising, with Roman motifs on the armour and saddle (almost impossible to see 1676: 546: 446:

Donatello's first appearance in any documentary records is unpromising; in January 1401, at the age of about 15, he was accused in

7694: 6658: 2729: 4058:

Seymour, 36-40 (lists all 7); Avery, 33-37; Coonin, 20-24; Vasari, 77-78; Hartt, 158-161; Holt, 173-177 gives Manetti's account.

2641: 1860:

architecture. The level of detail in the higher reliefs makes them simply hard for the viewer to read from below. According to

7669: 6156: 5267: 1560:

Although the commission is not documented, the statue is first recorded placed on a column in the courtyard of the newly-built

1057: 324:

All accounts describe Donatello as amiable and well-liked, but rather poor at the business side of his career. Like (not only)

875: 414:

of bankers, it seems to have been rather distantly. The banker Bardis were still wealthy and powerful, despite the default of

6663: 6427: 5954: 5915: 5875: 5850: 5759: 5713: 3858: 1114:, perhaps intended to create subliminal impressions of tension and disharmony in the viewer, reflecting the grisly subject. 7226: 6103: 6077: 3237: 2187: 1959: 1148: 309:

informed pieces, and further on a number of stark, even brutal pieces. The sensuous eroticism of his most famous work, the

514: 252:

style of sculpture. He spent time in other cities, where he worked on commissions and taught others; his periods in Rome,

6913: 6442: 6333: 6314: 6194: 3170: 3050: 1610:

pose. The feathers of Goliath's helmet crest brush against the inside of David's thigh, in a further sensuous touch. The

1234: 977: 963: 779: 1735:, a suburb of Florence, was attributed by the diocese to Donatello, and dated to the 1460s. This is in a simpler style. 1564:

at a wedding in 1469, but it probably pre-dates the start of that building in 1444. It was most likely commissioned by

1035: 7533: 6414: 3559: 3513: 3128: 1972:

This work became the prototype for other equestrian monuments executed in Italy and Europe in the following centuries.

1942: 1915: 1888: 1695: 1051: 789: 260:

introduced to other parts of Italy the techniques he had developed in the course of a long and productive career. His

129: 4947: 2315: 1625:, a large collection of celebrity gossip probably compiled around 1480 (but not published until 1548), perhaps by the 1217:

and architecture made it well qualified to take on elaborate wall tombs. From 1425 to 1428, they collaborated on the

750:

column." Like most of the Orsanmichele statues, this has been moved to the museum inside, and replaced by a replica.

7328: 6840: 6552: 6347: 6283: 5795: 5777: 5697: 4783: 3570: 3253: 2648: 2565: 2379: 2143: 1255: 1076: 1007: 732:

Nevertheless, according to a story in Vasari, Donatello had trouble with his first statue for Orsanmichele, a marble

4667:

Coonin, 141; Olson, 84; Seymour, 234-235 (note 21). The dating used more typically to be in the 1450s or even later.

1440:" or "sprites"). Putti were not new in Italian sculpture, but were given a rather unusual prominence by Donatello. 7709: 7684: 7130: 6603: 6522: 6254: 6232: 3408: 2736: 1658: 1373:

in marble relief, 228 cm (89.7 in) high, and now in the museum there. The main figurative sections are a

1092:; it seems to have been his idea to have six bronze, rather than marble, reliefs, and these were allocated to him, 834: 4142:. See Caglioti 2022, 28-32, for the profile cut off the wall see Janson 1957 II, plate 473b (who yet excluded the 7699: 7150: 3721:, in which he appears working on Gattamelata and is mocked for being less famous than other Renaissance artists. 2361:(d. 1491), a pupil of Donatello and in theory Michelangelo's mentor when he ran the informal "garden academy" of 1784: 1476:

or singing gallery of Florence Cathedral. There are two of these galleries rather high on the walls of the nave.

1365:

There was probably a large papal commission in view, but if so, nothing resulted. The main surviving piece is a

1226: 746:

pose, with the robe on the leg bearing the weight in straight "vertical drapery folds resembling the flutes of a

4173:

Seymour, 67. The cathedral records payment in 1412, but this may be for a different figure, now lost or altered.

2007:

for commissions that never came off; in 1451 he was paid by the Bishop of Ferrara for a work he never finished.

1002: 6934: 6850: 6529: 6355: 3732: 3462: 3427: 3109: 2682: 1712: 1671: 1260: 1097: 1045: 660:

The visibility of statues high on the cathedral buildings was to remain a concern for the rest of the century;

7466: 6865: 6638: 5865: 5703: 3486: 2586: 532:

Donatello is recorded as working as an apprentice, and for the last few months on a salary, in the studio of

237: 2010: 5000:

Coonin, 159. The tomb was conceivably designed or partly done by Donatello, as proposed by F. Caglioti in

3706: 2786: 1117: 821:

built for a rare visit by the pope; in the event he did not finish it in time. It was later placed in the

5245: 5237: 5229: 7714: 7392: 7303: 7186: 7030: 6740: 6501: 6327: 5765: 5225: 3791: 3744: 3714: 3694: 3163: 2495: 2373: 2032: 1218: 6160: 6125: 616:

Donatello was responsible for six of the eight campanile figures, in two cases working with the younger

7120: 6965: 6750: 6730: 6120: 6087: 5203: 3653: 2466: 2260: 2135: 2113: 1292:

Another type of work for sculptors was coats of arms and other heraldic pieces for the outsides of the

1067: 20: 6017: 5834: 7035: 6960: 6725: 6487: 6246: 5678: 3268: 3259: 2761: 2321: 1803:

are four scenes from the life of John the Baptist, and at the top of the purely decorative arches in

1653: 1548: 1536: 862: 712: 584: 562: 557: 339: 310: 262: 152: 123: 6131: 3827:"Cinq maîtres de la Renaissance florentine : Giotto, Uccello, Donatello, Manetti, Brunelleschi" 2296:, who died in 1431. The painted terracotta bust portrait of him may have been made using a life- or 7298: 7040: 6745: 6277: 2099: 1013: 755: 716: 693: 117: 7641: 7503: 7191: 7045: 6855: 6766: 6735: 6187: 5629: 5510: 5431: 3728:"6056 Donatello" is named after him. At about 13 kilometres across, it is larger than most. The 3592: 2424: 1387: 1370: 1301: 784: 490:, the unexpected result declared by the 34 judges was that the entries by two young Florentines, 419: 6113: 2300:, presumably not very long after his death, at the latest. He is shown wearing an ancient Roman 7538: 7419: 6860: 6829: 6720: 6712: 6702: 6674: 6269: 5801: 3343: 2833: 2413: 1826: 1172:(1428–30), for an unknown location but in the Medici collection by the end of the century, and 1096:, and a local father and son team. By 1423 Ghiberti had not even started work, and one relief, 881: 813:

In 1418 the Signoria commissioned a large and imposing figure of Florence's heraldic lion, the

7450: 5919: 5819: 5424: 3927:

But Coonin, 124, feels "there are no surviving drawings convincingly attributed to Donatello".

2417:

in Padua by 1469, and remained the leading sculptor there, handing the role over to his pupil

1703:

stay in Padua, according to the idea that Donatello's works became more and more expressive.

7674: 7338: 7196: 6970: 6648: 6643: 6321: 3672: 3369: 3218: 3193: 3022: 2907: 2751: 2434: 2362: 2204: 2196: 1767: 1500: 1394: 1296:

of the great families of the city, of which Donatello made a number. Donatello also restored

1238: 1153: 843: 839: 822: 802: 609: 415: 44:

Donatello, an imagined 16th-century portrait by an unknown artist (The former attribution to

4080:

For a short survey on antique art that was known at the beginning of the Quattrocento, see

1587:

of about 1408–09, showed him clothed; here he wears only a hat and boots which, as with the

1428:

In the 1430s and 1440s Donatello made many sculptures of young children dancing, as well as

462:. What experience Donatello had to assist him, if that was what he was doing, is unclear. 7679: 7424: 7399: 7382: 7372: 7221: 6633: 6596: 6407: 6393: 6218: 3776: 3736: 3041: 2627: 2439: 2401: 2393: 2358: 2337: 2293: 2147:

is an important late work, which ended in a Medici courtyard in Florence, while his bronze

2138:); the Sienese may have been unable to fund what would have been a very expensive project. 1968: 1743: 1626: 1575: 1565: 1531: 1379: 1340: 1214: 1166:, both c. 1425−1430 and domestic pieces respectively with and without a carved background, 1093: 734: 661: 591: 451: 423: 298: 241: 96: 69: 3826: 2289: 2276: 1991:

Donatello was based in Padua for ten years, though he returned to Florence soon after the

1618:

supplement various pieces of contemporary gossip to suggest Donatello's sexual interests.

1041: 391:

Donatello was born in Florence, probably in 1386, based on his own later statement in his

8: 7631: 7585: 6771: 5411: 4843:

As proposed in Strom, Deborah Phyl, "A new chronology for Donatello's wooden sculpture",

2957: 2040: 1980: 1957:, a late Roman example which was another victim of the French, and he certainly knew the 1841: 1495:

in animated conversation crowd at the top of the large classical frame of his Cavalcanti

1222: 818: 537: 536:

in 1404–1407, apparently working on the workshop's main project, the bronze doors of the

474: 245: 7664: 7636: 7257: 6878: 6180: 6047: 5885: 5825: 5723: 5326:

Seymour, 145-146, 146 quoted; Coonin, 232-237; Hartt, 287-288; Avery, 94-96; Olson, 90.

2722: 2397: 1336: 1332: 706: 370:

Donatello certainly made drawings, probably especially for reliefs. In the case of his

7000: 6898: 5866:

Rowley, Neville (ed.) with Francesco Caglioti, Laura Cavazzini and Aldo Galli (2022).

5704:

Caglioti, Francesco (ed.) with Laura Cavazzini, Aldo Galli and Neville Rowley (2022).

4012:", though in this edition the date of birth is corrected (see below); Coonin, 106-107. 1483:

They develop the style of the Prato pulpit reliefs, the figures "primarily symbols of

1201: 7404: 7377: 7065: 6893: 6883: 6421: 6165: 6143: 6107: 5950: 5911: 5871: 5846: 5791: 5773: 5755: 5709: 5693: 4779: 4071:. Northwestern University Press, Evanston (Ill.) 1992 (1980), ISBN 0-8101-1034-2, 84. 3854: 3800: 3689: 3519: 3350: 2859: 2074: 1931: 1832: 1776: 1762: 1752: 1638: 1477: 511:(1423–1497), who knew both men, but it was written after their deaths in the 1470s. 459: 427: 249: 140: 6083: 5861:. An Introduction to Italian Sculpture. Vol. 2 (4th ed.). London: Phaidon. 2223: 1883: 1811:, sitting at large desks on which their attributes perch. These are all in painted 7626: 7616: 7575: 7085: 6908: 6823: 6792: 6689: 6668: 6508: 6152:

Sculpture in the Age of Donatello: Renaissance Masterpieces from Florence Cathedral

3633: 2256: 2229: 2070: 1849: 1808: 1630: 1578:, victorious in defence against larger surrounding powers, with at this period the 1448: 1324: 1285: 1103: 1089: 617: 533: 491: 302: 232: 189: 2613:

Crucifix for the Sant'Antonio high altar, Padua, 1443–1449, Museo Antoniano, Padua

7487: 7471: 6903: 6612: 6589: 6570: 6054:, photography by Liberto Perugi, critical apparatus by Giovanna Ragionieri, 1985. 5958: 5811: 5783: 5506: 5428:, ed. Patricia Lee Rubin, (Metropolitan Museum of Art/Bode-Museum), 2011, 126-128 5130:"OPVS DONATELLI.FLO" ("The work of Donatello the Florentine"), quoted Coonin, 178 3795: 3710: 3618: 3337: 3222: 2779: 2384: 2152: 2109: 1904: 1861: 1853: 1845: 1416: 1316: 1111: 595: 508: 487: 407: 400: 359: 306: 270:

male sculpture since antiquity; like much of his work it was commissioned by the

6059:

Engaging Symbols: Gender, Politics, and Public Art in Fifteenth-Century Florence

4008:

Rubins, 348-352; Vasari, 97, "..brought up from early childhood in the house of

1665: 1459: 148: 7611: 7606: 7429: 7324: 7283: 7135: 6888: 5931: 5903: 4973:

Another was added in the early 15th century on the opposite side of the church.

4743:

Bowen, Barbara C., “The Collection of Facezie Attributed to Angelo Poliziano”,

3755: 3132: 3029: 2632: 2332: 2015: 1788: 1579: 1561: 1386:

There was also the old-fashioned tomb slab for the cleric Giovanni Crivelli in

576: 5652: 1323:, close to and controlled by Florence, were when the city's famous relic, the 1280:-like figures, classical in inspiration, and highly influential on later art. 902:

The "Beardless Prophet" for the campanile, 1416–18, Museo dell'Opera del Duomo

7658: 7201: 7022: 6363: 5979: 5974: 5740: 4868:"'Quel crocifisso ligneo è di Donatello', la sensazionale scoperta a Firenze" 4762:

Forbidden Friendships: Homosexuality and Male Culture in Renaissance Florence

3846: 3749: 3390: 2969: 2418: 2237: 1804: 1721: 1687: 1393:

It has been speculated that the visits led to meetings between Donatello and

1195: 1162: 1122: 1028:, especially his development of a very "low" or shallow relief style, called 760: 454:, who was some ten years older (born in 1377), and although not yet a master 371: 355: 330: 285:

for small works, and a good deal of his output was architectural reliefs for

271: 45: 5992:. Vol. 8 (11th ed.). Cambridge University Press. pp. 406–408. 5942:

selected & ed. George Bull), Penguin 1965 (page nos from BCA edn, 1979).

5603: 2671:

Coat of arms of the Martelli family, c. 1455, attributed, Bargello, Florence

2319:

One of the few surviving drawings thought to be by Donatello, Fragment of a

2081:, allegorical figures of knowledge. On the throne's back is a relief of the 7570: 7387: 7345: 7333: 7206: 7170: 6472: 5806:

A Documentary History of Art, Volume 1: The Middle Ages and the Renaissance

3725: 2930: 2848: 2571: 2481: 2429: 2354: 2249: 2088: 1772: 1699: 1606: 968: 887: 743: 722: 702: 688: 504: 434:

in 1380 in which Niccolò intervened, giving Pitti's opponent a fatal blow.

411: 363: 325: 6071: 7580: 7554: 7508: 7319: 6834: 6797: 6457: 3438: 3258:

deteriorated and destroyed in a fall in 1721 (replaced with a version by

2991: 2083: 1901: 1589: 1508: 1464: 1297: 1133: 950:, for the campanile, 1426–c. 1427 and 1435–36, Museo dell'Opera del Duomo 775: 747: 684: 499:

that the vote went unanimously for him, including the competing artists.

7288: 6099: 5624: 4748: 3780: 1775:

of a few years later, which perhaps learnt the lessons of the sacristy;

1443:

Some early examples are three out of a group of six freestanding bronze

7414: 6817: 6787: 6653: 5372: 4801:

Donatello and His World. Sculpture of the Italian Renaissance, Volume 1

2409: 2297: 1913:, or 'Honey-Cat'), who had died that year. Designing and planning his 1800: 1710:

had knock-on consequences for a far more celebrated wooden figure, the

1366: 1191: 1142: 1128: 1030: 794: 638:), the best known of the series, and reportedly Donatello's favourite. 282: 267: 7273: 5215:

Seymour, 125–127 illustrating five possible layouts; Coonin, 184, 196.

2292:

was a significant Medici political associate, as well as a banker and

2123:, though he was now aging, and perhaps mostly contributed designs and 7528: 7445: 4847:, 1980, Vol 38, Num 3, pp 239-248; Coonin, 154-155 (and his note 60). 3831: 3660:

Pulpits, one with scenes of the Passion, one with post-Passion scenes

526: 455: 4039:

Coonin, 18-19; Walker, 4, says Brunelleschi became a master in 1398.

3546:, six statues of saints and four episodes of the life of St. Anthony 2170:

is in his late, stark, style, showing the killing in progress, with

2077:. Shown at the base of her throne, to each side of the Madonna, are 1731:

In 2020 the painted wooden crucifix of the church of Sant'Angelo in

1102:

was given to Donatello instead (the overall subject was the life of

465: 6298: 4686: 3385: 3085: 2941: 2458: 2244:

form in the backgrounds of reliefs, including the Prato pulpit and

2241: 1950: 1867: 1792: 1553: 1484: 1018: 985: 826: 814: 783:

dates to some years later, 1423–25. It is now in the museum of the

726: 635: 631: 540:, and from 1406 on he began stone carving at the cathedral for the 158: 6581: 5973:

This article incorporates text from a publication now in the

2465:

and other smaller pieces, often with uncertain attributions. The

7621: 6306: 6020:". Grove Art Online. Oxford Art Online. Oxford University Press. 5657: 3080: 2343: 2125: 2043:, and a total of twenty-one bronze reliefs and one in marble, an 1954: 1927: 1732: 1601: 1512:, perhaps from the early 1440s, has one foot in the world of the 946: 764: 626: 447: 403:, the wool workers guild, which probably provided a good income. 392: 176: 4482:"Collections and restoration of antiquities – Ancient Monuments" 1472:

His most famous work in this genre is his relief frieze for the

1254:

relief discussed above. Finishing in 1429, for the font at the

5940:

Lives of the Most Excellent Painters, Sculptors, and Architects

4834:

Seymour, 144 (quoted); Avery, 91-92, both using the old dating.

3505: 3423: 3360: 3318: 3189: 3159: 2987: 2869: 2592: 2470: 2326: 2171: 2078: 2004: 2000: 1820: 1816: 1812: 1691: 1642: 1242: 1025: 668: 379: 351: 286: 278: 6042:

Images of Political Triumph: Donatello's Iconography of Heroes

4335:

Coonin, 37-38. If it is indeed by him, which has been doubted.

5838:, Vol. 8 (11th ed.), Cambridge University Press. pp. 406–408. 5790:, (2nd edn.) 1987, Thames & Hudson (US Harry N. Abrams), 3531: 3333: 3124: 2120: 1897: 1725: 1571: 1429: 1357: 1320: 1277: 1190:

Around 1425 Donatello entered into a formal partnership with

1074:

Donatello's "first milestone" in the technique is his marble

739: 257: 253: 6172: 5770:

The Loves of the Artists: Art and Passion in the Renaissance

4948:"Crocifisso di Donatello nella chiesa di Legnaia, la storia" 19:

This article is about the artist. For other references, see

4991:

Coonin, 159. Begun in 1428, with the roof in place by 1428.

3740: 3046: 2301: 2051:, with highlights in gold, are of a uniform high standard. 1717:

late 1430s, or at any rate before Donatello went to Padua.

1246: 1038:(1424-1451) for the Florence Baptistery a leading example. 431: 219: 213: 204: 198: 3228:

London, Victoria and Albert Museum (Inv. 7629-1861)

1645:

in the Florentine archives, though these are incomplete.

1503:, made for a brother in law of the Medici, c. 1436-1438. 1437: 1405:

uses proportions very close to those Alberti recommends.

825:, where there is now a replica, with the original in the 6379:

The Ascension with Christ Giving the Keys to Saint Peter

4344:

Putting "un contadino in croce", a peasant on the cross.

3204:

The Ascension with Christ Giving the Keys to Saint Peter

2482:

Works with architectural elements: tombs and tabernacles

1926:

A factor may have been a competing commission in nearby

1169:

The Ascension with Christ Giving the Keys to Saint Peter

932:, for the campanile, 1423–26, Museo dell'Opera del Duomo 917:, for the campanile, 1418–20, Museo dell'Opera del Duomo 418:

in 1345 having caused the failure of their bank. After

4443:

Coonin, 81-85; Seymour, 75-77, 76 quoted; Olson, 74-75.

4082:

Krautheimer, Richard; Krautheimer-Hess, Trude (1982) .

3779:

had yet to be established, the Latin equivalent of the

2538: 1995:

was finally in place in 1453. He had a studio near the

601:

In 1409–1411 he executed the colossal seated figure of

5818:, 2 Vol., Princeton University Press, Princeton 1957. 4550:

Avery, 74, 103-104; Seymour, 90 (quoted); Coonin, 109.

3829:[Five masters of the Florentine renaissance]. 2445:(1501) is both "an ode and a challenge to Donatello". 2119:

Between 1457 and 1461 Donatello was active in and for

1516:

and the other in the sensuous eroticism of the bronze

1432:(cherubs) and a variant of these traditionally called 1063:

The Ascension with Christ Giving the Keys to St. Peter

641:

His other statues for the campanile are known as: the

1941:

The Gattamelata was placed on the square outside the

1878: 1331:), thought to be the belt the Virgin Mary dropped to 1233:

After his death in 1427, the partnership took on the

350:

16th-century portraits of Florentine culture heroes:

343:

has a hole under his chin, and a patch on his thigh.

201: 192: 2935:

Florence, Museo Nazionale del Bargello (with niche)

2453:

Most of Donatello's major works for churches remain

216: 210: 195: 5856: 5426:

The Renaissance Portrait: From Donatello to Bellini

3743:to transfer supplies and equipment to and from the 2917:

St. George (with Saint George Freeing the Princess)

1771:to achieve the iconic status of the rather similar 1637:private life, and unlike many artists (for example 1264:(discussed above), he made small bronze statues of 207: 2062:, between St. Francis and St. Anthony, in bronze ( 1967:), and the horse perhaps derived from the ancient 7690:15th-century people from the Republic of Florence 4895:"Studioso scopre Crocifisso inedito di Donatello" 3709:, is named after him. Donatello is portrayed by 3564:Padua, Basilica di Sant'Antonio (reconstruction) 2383:and the signature on the cushion above, 1453–57, 1408: 630:("Baldy", or "Pumpkin Head" probably intended as 7656: 5022:Coonin, 159-166; Avery, 80-81; Seymour, 114-115. 4254:Seymour, 58-64, 71-73, and index; Coonin, 41-47. 2756:Florence, Santa Croce, Cappella Bardi di Vernio 2027:In Padua itself, he completed several works for 1451:(1429), standing over his earlier relief of the 1235:funerary monument of Cardinal Rainaldo Brancacci 1600:One foot rests casually on the severed head of 5653:"Artists vs TMNT. Epic Rap Battles of History" 5299:Olson, 89-90; Coonin, 218-221; Hartt, 285-287. 5013:Avery, 80; Coonin, 160, 166-167; Seymour, 114. 4067:English translation in: Creighton E. Gilbert: 3824: 1185: 6597: 6188: 5317:Seymour, 145-146; Coonin, 232-237; Olson, 90. 5166:Olsen, 138–140; Wilson, 61; Seymour, 201-203. 5031:Seymour, 114-115; Coonin, 165-166; Avery, 81. 4926:QAeditoria.it – QA turismo cultura & arte 4689:, who was typically shown naked, Coonin, 141. 4069:Italian Art. 1400-1500. Sources and Documents 3393:(Macigno) and terracotta, whitened and gilded 2498:, 1423–1425, Baptistry San Giovanni, Florence 1945:, a famous pilgrimage church (locally called 1908: 1488:aware of their fat tummies and chubby legs". 787:, having been replaced in 1460 by the bronze 657:, a prophet not finally finished until 1435. 552: 5845:, 1992, Thames & Hudson (World of Art), 4398:Seymour, 80-81; Coonin, 86-88; Olson, 61-62. 2920:Statue and niche with low relief on its base 2457:, or moved inside to the church museum. The 2151:was delivered minus a forearm and is now in 1311:Section of the Prato pulpit reliefs, 1434–38 594:, who placed in the seat of government, the 458:, working on silver figures for an altar in 319: 5894:) CS1 maint: multiple names: authors list ( 5732:) CS1 maint: multiple names: authors list ( 3719:Artists versus Teenage Mutant Ninja Turtles 1213:The partnership's combination of skills in 753:About 1415 to 1417 he completed the marble 6987:Genealogical tables of the House of Medici 6604: 6590: 6195: 6181: 6026:Bennett, Bonnie A. and Wilkins, David G., 5890:: CS1 maint: location missing publisher ( 5728:: CS1 maint: location missing publisher ( 4803:, Harry N Abrams, New York 1993, p. ? 4649:Coonin, 141; Konody; Olson, 84; Avery, 82. 3013:Florence, Santa Maria del Fiore, Campanile 2778:Florence Cathedral, planned for buttress, 2559:, terracotta, c. 1440, Bode Museum, Berlin 1641:) there are no recorded denunciations for 1179:(perhaps 1426, probably by his workshop). 994: 410:, but if he was related to the well known 277:He worked with stone, bronze, wood, clay, 238:Italian sculptor of the Renaissance period 38: 6072:Donatello: Biography, style, and artworks 5928:, 1966, Penguin (Pelican History of Art). 5808:, 1981, Princeton (orig. Doubleday 1957). 5752:Donatello and the Dawn of Renaissance Art 5747:, page refs from Pelican edition of 1960. 4776:The Queer Encyclopedia of the Visual Arts 4523:Coonin, 104, 112; Seymour, 98; Avery, 78. 2252:(Louvre, c. 1440 or later) is original. 2155:. Another commission was a large relief 1698:, patron saint of Florence, still in the 1593:, serve only to accentuate his nudity. 406:Donatello's actual surname was therefore 6016:Avery, Charles and McHam, Sarah Blake, " 6011:Donatello. Catalogo completo delle opere 5978: 5830:s:1911_Encyclopædia_Britannica/Donatello 5344:Coonin, 118-119; Seymour, 94; Olson, 78. 4865: 2881:Florence, Santa Croce (since the 1450s) 2372: 2314: 2270: 2222: 2186: 2098: 2039:and six flanking saints, constituting a 2009: 1979: 1882: 1825: 1742: 1664: 1652: 1574:was well-established as a symbol of the 1530: 1506:The remarkable bronze statue called the 1458: 1415: 1397:, then in Rome, and perhaps writing his 1306: 1200: 1116: 1056: 1040: 1001: 711: 683: 556: 513: 464: 345: 147: 5423:Olson, 91; the long catalogue entry in 4773: 4745:Bibliothèque d’Humanisme et Renaissance 4725:Coonin, 143-147; Jones, 1-4; Avery, 82. 4505:Coonin, 104-105, 109, 112; Seymour, 98. 4096:Holt, 178-179 prints Manetti's account. 3456:Florence, Museo Nazionale del Bargello 3432:Venice, Santa Maria Gloriosa dei Frari 3290:Florence, Museo Nazionale del Bargello 2963:Florence, Museo Nazionale del Bargello 2469:has important shallow reliefs, and the 2218: 817:for the entrance to a new apartment at 316:, is very rarely seen in other pieces. 7657: 4479: 4434:Coonin, 80-83, 97; Seymour, 72, 75-76. 2227:Modern glass moulded in a cast of the 1975: 1936:Niccolò III d'Este, Marquis of Ferrara 1156:, Naples, (1426-1428, see below), the 6585: 6176: 5947:The Feud That Sparked the Renaissance 5822:of the 1963 edition with less plates. 3845: 3739:, was one of three MPLMs operated by 3683: 3480:Florence, Museo dell'Opera del Duomo 3313:Florence, Museo dell'Opera del Duomo 3177:relief (all other work by Michelozzo) 3103:Florence, Museo dell'Opera del Duomo 3074:Florence, Museo dell'Opera del Duomo 3016:Florence, Museo dell'Opera del Duomo 2912:Florence, Museo dell'Opera del Duomo 2808:Florence, Museo dell'Opera del Duomo 248:and used his knowledge to develop an 231: 6127:Donatello: Sculpting the Renaissance 6104:David Lindsay, 27th Earl of Crawford 4613:Clark, 279-280; see also Hartt, 236. 3471:Wood and stucco pigmented and gilded 2769:Statue (maybe originally with sling) 2599: 2510:The tabernacle in St Peter's, Rome, 1960:Equestrian Statue of Marcus Aurelius 6611: 6443:Madonna and Child with Four Cherubs 6334:Tomb of Cardinal Rainaldo Brancacci 6044:, Princeton University Press, 1984. 6037:, Gerald Duckworth & Co., 1998. 5868:Donatello. Erfinder der Renaissance 5650: 5049:Coonin, 161, 165-166; Seymour, 115. 4920:Salzano, Marco Pipolo & Guido. 4919: 3873:Seymour, 50; Coonin, 78; Olson, 73. 3825:Unknown master (19 December 2023). 3353:(doors, lunettes, tondi and frieze) 3171:Tomb of Cardinal Rainaldo Brancacci 2357:, via the somewhat dubious link of 1738: 13: 7534:Crown of the Grand Duke of Tuscany 7366:Painters, sculptors and architects 5996: 5949:, 2003, New York: William Morrow. 5788:History of Italian Renaissance Art 5094:Coonin, 171-172; Seymour, 123-124. 5076:Seymour, 124-125; Coonin, 171-172. 4105:Coonin, 24-26; Walker, 26, 30, 34. 2657: 2346:he praises the "beautiful fancy" ( 2108:, the possible trial cast for the 1916:Equestrian Monument of Gattamelata 1889:Equestrian Monument of Gattamelata 1879:Equestrian Monument of Gattamelata 1661:, 1407–1408, with retractable arms 1335:as she rose in the air during her 1237:, a Medici ally, at the church of 521:, 1406, Museo dell'Opera del Duomo 473:relief of the north doors for the 130:Equestrian Monument of Gattamelata 14: 7726: 6284:Saint George Freeing the Princess 6065: 5496:Rubins, 352-354; Vasari, 235-236. 4716:Clark, 49-50; see also Avery, 82. 3853:(3rd ed.). Pearson Longman. 3790:) had been in use for natives of 3629:Virgin and Child with Four Angels 3287:Florence, Casa Vecchia de' Medici 3217:1492 listed in the collection of 2825:Florence Cathedral, north tribune 2676: 2421:(c. 1470 – 1532) in due course. 2031:, including the first life-sized 1896:In 1443, Donatello was called to 1648: 1447:on the cover for the font of the 1256:Baptistery of San Giovanni, Siena 1077:Saint George Freeing the Princess 1008:Saint George Freeing the Princess 430:, whose diary records a fight in 7705:Burials at San Lorenzo, Florence 7439:Poets and other literary figures 6999: 6538:Lamentation over the Dead Christ 6523:Equestrian statue of Gattamelata 5966: 5692:, 1970, John Murray Publishing, 5690:Florentine Renaissance Sculpture 5672: 5644: 5617: 5608: 5597: 5588: 5579: 5570: 5561: 5552: 5543: 5534: 5525: 5516: 5499: 5490: 5481: 5472: 5463: 5454: 5445: 5417: 5405: 5396: 5387: 5378: 5365: 5356: 5347: 5338: 5329: 5320: 5311: 5302: 5293: 5284: 5275: 5269:Lamentation over the Dead Christ 5260: 5251: 5218: 5209: 5196: 5187: 5178: 5169: 5160: 5151: 5142: 5133: 5124: 5115: 5106: 5097: 5088: 5079: 5070: 5061: 5052: 5043: 5034: 5025: 5016: 5007: 4994: 4985: 4976: 4967: 4940: 4913: 4887: 4859: 4850: 4837: 4828: 4819: 4081: 3851:Longman Pronunciation Dictionary 3794:since antiquity. For example in 3062:Statue in niche (fourth of five) 2664: 2640: 2618: 2606: 2579: 2564: 2548: 2522: 2503: 2488: 2307: 2132:possible trial cast of one panel 2105:Lamentation over the Dead Christ 1791:under the vesting table for the 1683:marble and bronze often were). 1024:Donatello became famous for his 976: 955: 937: 922: 907: 895: 874: 854: 188: 166:Donato di Niccolò di Betto Bardi 58:Donato di Niccolò di Betto Bardi 5910:, 1995, Yale University Press, 5908:Giorgio Vasari: Art and History 5745:The Nude, A Study in Ideal Form 5157:Coonin, 172, 190; Seymour, 125. 4866:Mugnaini, Olga (6 March 2020). 4806: 4793: 4767: 4760:Jones, 314-315; Michael Rocke, 4754: 4737: 4728: 4719: 4710: 4701: 4692: 4679: 4670: 4661: 4652: 4643: 4634: 4625: 4616: 4607: 4598: 4589: 4580: 4571: 4562: 4553: 4544: 4535: 4526: 4517: 4508: 4499: 4480:Hesson, Robert (28 July 2019). 4473: 4464: 4455: 4446: 4437: 4428: 4419: 4410: 4401: 4392: 4383: 4374: 4365: 4356: 4347: 4338: 4329: 4320: 4311: 4302: 4293: 4284: 4275: 4266: 4257: 4248: 4239: 4230: 4221: 4212: 4203: 4194: 4185: 4176: 4167: 4158: 4149: 4126: 4117: 4108: 4099: 4090: 4074: 4061: 4052: 4042: 4033: 4024: 4015: 4002: 3993: 3984: 3975: 3966: 3957: 3948: 3939: 3930: 3921: 3004:Statue in niche (third of five) 2591:, painted terracotta, c. 1440, 1523: 803:reliquary bust of Saint Rossore 679: 441: 399:) and member of the Florentine 289:, altars and tombs, as well as 7695:15th-century Italian sculptors 6061:, Yale University Press, 2002. 5772:, Simon & Schuster, 2013, 5430:attributes it to "Workshop of 5193:Coonin, 184–196; Avery, 88–91. 5139:Seymour, 124; Coonin, 173–179. 5121:Seymour, 124-125; Coonin, 184. 5112:Coonin, 173; Seymour, 13, 124. 4982:Coonin, 157-166; Avery, 80-81. 4816:, Harvard Press, 2003, p. 264. 4814:Homosexuality and Civilization 4389:Seymour, 77-78; Coonin, 85-86. 4245:Coonin, 34-35; Seymour, 67-68. 4182:Coonin, 60-61; Hartt, 164-165. 4155:Seymour, 49-50; Coonin, 28-33. 3912: 3903: 3894: 3885: 3876: 3867: 3839: 3818: 3769: 3733:Multi-Purpose Logistics Module 3692:in the 2016 television series 3549:Statues (seven) and 21 reliefs 3428:Santa Maria Gloriosa dei Frari 3417:Wood, painted partially gilded 3091:Statue in niche (last of five) 2897:Statues in niche (two of five) 2683:Donatello (catalogue of works) 2448: 2438:(c. 1490) is an essay in it. 2266: 1987:, from the life of St. Anthony 832:Before about 1410 he made the 653:(with Nanni di Batolo, 1421); 649:(both from 1414 to 1420); the 1: 7670:Italian Renaissance sculptors 7617:Stories set to music: "opera" 6542: 6513: 6492: 6477: 6462: 6447: 6432: 6398: 6383: 6368: 6337: 6288: 6259: 6236: 6223: 6202: 6094:Donatello: Photograph Gallery 5926:Sculpture in Italy, 1400–1500 5859:Italian Renaissance Sculpture 5857:Pope-Hennessy, John (1996) . 5843:Italian Renaissance Sculpture 5625:"Medici: Masters of Florence" 5414:(not 1433 as Olson, 91 says). 4676:Jones, 1-16; Coonin, 142-145. 4568:Seymour, 90; Coonin, 130-133. 4353:Vasari, 97-98; Coonin, 38-41. 4227:Vasari, 101; Coonin, 120-123. 3811: 3583: 3552:Bronze (and one stone relief) 3262:that was replaced by a copy) 3100:Florence Cathedral, Campanile 3071:Florence Cathedral, Campanile 3051:Museo nazionale di San Matteo 2853:Florenz, Orsanmichele museum 2511: 2182: 2063: 1748:Ascension of John the Baptist 1050:(1423–1427), baptismal font, 386: 169: 61: 6136:Review in TLS, 14 April 2023 5594:Coonin, 243-244, 243 quoted. 4541:Seymour, 89-90; Coonin, 109. 4263:Vasari, 100; Seymour, 59-60. 3707:Teenage Mutant Ninja Turtles 3359:Bronze (doors), polychromed 3246:Marble (with a working bell) 2787:Museo nazionale del Bargello 2335:'s life of Donatello in his 1985:The Miracle of the Angry Son 1319:; highlights in the year at 1149:The Assumption of the Virgin 869:, 1408–09 and 1416, Bargello 808: 570: 16:Italian Renaissance sculptor 7: 7393:Michelangelo and the Medici 7237:Palazzo Medici di Ottaviano 7187:Casino Mediceo di San Marco 6502:Basilica del Santo Crucifix 6328:Tomb of Antipope John XXIII 5522:Olson, 90; Coonin, 236-237. 5228:; the crucifix is shown on 4778:. Cleis press. p. 97. 4631:Coonan, 149-151; Jones, 13. 4164:Seymour, 52; Coonin, 29-30. 3745:International Space Station 3715:Epic Rap Battles of History 3701:The fictional crimefighter 3695:Medici: Masters of Florence 3537:Padua, Piazza Sant'Antonio 3198:Naples, Sant'Angelo a Nilo 3164:Museum of Fine Arts, Boston 2496:Tomb of Antipope John XXIII 2094: 2060:Madonna and Child Enthroned 1900:by the heirs of the famous 1873: 1258:, apart from the relief of 1219:Tomb of Antipope John XXIII 1186:Partnership with Michelozzo 967:and its (copied) niche for 790:Incredulity of Saint Thomas 547:Museo dell' Opera del Duomo 469:Ghiberti and workshop, the 266:was the first freestanding 175:– 13 December 1466), known 10: 7731: 7460:Humanists and philosophers 7212:Palazzo Medici Tornaquinci 6121:Victoria and Albert Museum 6088:Metropolitan Museum of Art 6004:Donatello: An Introduction 5936:Artists of the Renaissance 5816:The Sculpture of Donatello 5706:Donatello. The Renaissance 5040:Coonin, 161; Seymour, 115. 4954:(in Italian). 6 March 2020 4281:Seymour, 64; Coonan,51-52. 4209:Seymour, 68–70, 69 quoted. 4146:from Donatello's catalog). 3688:Donatello is portrayed by 3654:Victoria and Albert Museum 3598:Florence, Palazzo Vecchio 3221:, until after 1677 in the 2805:Florence Cathedral, façade 2730:Museo dell'Opera del Duomo 2680: 2476: 2467:Victoria and Albert Museum 2342:of others. In his life of 2261:Victoria and Albert Museum 2136:Victoria and Albert Museum 2114:Victoria and Albert Museum 1766:, as it is now called, of 1696:statue of John the Baptist 1677:Museo dell'Opera del Duomo 1068:Victoria and Albert Museum 705:, a building owned by the 553:Early statues for Florence 21:Donatello (disambiguation) 18: 7599: 7563: 7547: 7521: 7496: 7480: 7459: 7438: 7365: 7358: 7312: 7266: 7245: 7179: 7021: 7014: 6997: 6979: 6961:Giovanni delle Bande Nere 6953: 6922: 6806: 6780: 6759: 6711: 6688: 6644:Lorenzo "The Magnificent" 6626: 6619: 6563: 6210: 6096:on scultura-italiana.com. 6078:Donatello: Art in Tuscany 6035:Donatello and His Sources 5451:Rubins, 321-322, 340-341. 4747:56, no. 1 (1994): 27–38, 4586:Coonin, 92-95, 93 quoted. 4021:Coonin, 18; Walker, 6, 9. 3260:Giovanni Battista Foggini 3129:Baptistry of San Giovanni 2368: 2322:Massacre of the Innocents 2203:now form two pulpits for 2019:relief for the altar of 1823:technique, and when dry. 1272:, and three small bronze 1126:(1425−1430), marble semi- 1070:, London (Inv. 7629-1861) 1036:"Gates of Paradise" doors 603:Saint John the Evangelist 563:Saint John the Evangelist 549:, the cathedral museum). 477:from probably before 1407 320:Working and personal life 136: 110: 102: 92: 76: 53: 37: 30: 6155:, exhibition in 2015 at 6013:, Cantini, Firenze 1991. 5754:, 2019, Reaktion Books, 5614:Pope-Hennessy 1996, 350. 4952:Isolotto Legnaia Firenze 4774:Summers, Claude (2004). 3762: 3747:. The others were named 3560:Basilica di Sant'Antonio 3301:Pulpit with high reliefs 3272:(with head of Goliath), 2796:Statue in niche, sitting 1779:was the sculptor there. 1245:. The work was done at 7710:Italian Roman Catholics 7685:Sculptors from Florence 7192:Palazzo Medici Riccardi 6923:Bishops and archbishops 6315:Saint Louis of Toulouse 6057:Randolph, Adrian W.B., 6022:(subscription required) 5989:Encyclopædia Britannica 5835:Encyclopædia Britannica 5802:Holt, Elizabeth Gilmore 5630:Internet Movie Database 5511:Desiderio da Settignano 5432:Desiderio da Settignano 5103:Seymour, 13; Avery, 88. 3936:Coonin, 9; Vasari, 106. 3380:Cavalcanti Annunciation 3254:Piazza della Repubblica 3238:Colonna dell'Abbondanza 2531:Cavalcanti Annunciation 2425:Desiderio da Settignano 1756:, painted stucco relief 1388:Santa Maria in Aracoeli 1209:on the Siena font, 1429 964:Saint Louis of Toulouse 835:painted wooden crucifix 785:Basilica di Santa Croce 780:Saint Louis of Toulouse 48:is no longer accepted.) 7700:Italian male sculptors 7539:Order of Saint Stephen 7420:Antonio del Pollaiuolo 6713:Grand Dukes of Tuscany 6415:Saint John the Baptist 6157:Museum of Biblical Art 6132:Gemäldegalerie, Berlin 6119:on the website of the 5924:Seymour, Charles Jr., 5841:Olson, Roberta J. M., 5175:Coonin, 172, 179–-180. 3677:Florence, San Lorenzo 3402:Florence, Santa Croce 3374:Florence, San Lorenzo 3304:Marble, mosaic, bronze 2878:Florence, Orsanmichele 2725:, Porta della Mandorla 2414:Antonio del Pollaiuolo 2392:generation, Ghiberti, 2388: 2377:Relief on the base of 2329: 2280: 2233: 2199: 2116: 2024: 1988: 1943:Basilica of St Anthony 1909: 1893: 1837: 1757: 1679: 1675:, wood, c. 1440−1442, 1662: 1604:, giving the figure a 1543: 1469: 1425: 1312: 1210: 1137: 1071: 1054: 1021: 729: 698: 567: 522: 478: 367: 301:style he learned from 162: 7339:Cappella dei Principi 7246:Fountains and gardens 6698:Alessandro "The Moor" 6680:Alessandro "The Moor" 6553:Judith and Holofernes 6348:The Baptism of Christ 6322:San Rossore Reliquary 6040:Leach, Patricia Ann, 6033:Greenhalgh, Michael, 5945:Walker, Paul Robert, 5402:Seymour, 7, 123, 139. 4486:Northern Architecture 3673:San Lorenzo, Florence 3571:Judith and Holofernes 3534:, Piazza Sant'Antonio 3495:Terracotta, pigmented 3399:Florence, Santa Croce 3281:Bronze, partly gilded 3143:Madonna of the Clouds 3023:San Rossore Reliquary 2994:, Skulpturensammlung 2816:Statue (5.5 mts high) 2649:Judith and Holofernes 2435:Madonna of the Stairs 2380:Judith and Holofernes 2376: 2318: 2274: 2226: 2205:San Lorenzo, Florence 2190: 2168:Judith and Holofernes 2144:Judith and Holofernes 2102: 2049:Life of Saint Anthony 2013: 1983: 1907:(better known as the 1886: 1846:doors of Santa Sabina 1829: 1768:San Lorenzo, Florence 1746: 1724:, it shows "a female 1668: 1656: 1534: 1501:Santa Croce, Florence 1462: 1419: 1395:Leon Battista Alberti 1310: 1225:; the executors were 1204: 1158:Madonna of the Clouds 1120: 1060: 1044: 1005: 844:Brunelleschi Crucifix 823:Piazza della Signoria 715: 687: 676:("Large White Man"). 560: 517: 468: 416:Edward III of England 378:A story told both by 349: 151: 7504:Emilio de' Cavalieri 7467:Pico della Mirandola 7425:Jacopo della Quercia 7400:Bernardo Buontalenti 7383:Filippo Brunelleschi 7373:Bartolomeo Ammannati 7222:Palazzo delle Vedove 6654:Giovanni, Pope Leo X 6408:Putti candle-holders 6394:Madonna of the Cords 6255:Huldschinsky Madonna 6233:Santa Croce Crucifix 6219:Madonna of the Apple 6080:on casasantapia.com. 5906:and Rubin, Maurice, 5651:ERB (14 July 2014). 5002:Donatello e i Medici 4734:Jones, 1-6, 314-315. 3777:Italian nation state 3737:Italian Space Agency 3735:(MPLM) built by the 3522:(and relief on base) 3514:Gattamelata monument 3384:Relief, high, in an 2906:Florence Cathedral, 2819:Terracotta, whitened 2737:Santa Croce Crucifix 2628:St. John the Baptist 2402:Bertoldo di Giovanni 2394:Jacopo della Quercia 2359:Bertoldo di Giovanni 2338:Lives of the Artists 2279:, 1430s?, attributed 2219:Work involving glass 2161:Madonna delle Grazie 1969:Horses of Saint Mark 1706:The redating of the 1659:Santa Croce Crucifix 1576:Republic of Florence 1409:Children, putti and 1380:Entombment of Christ 1215:monumental sculpture 1152:in the wall-tomb in 1094:Jacopo della Quercia 738:(1411–1413) for the 674:homo magnus et albus 542:Porta della Mandorla 452:Filippo Brunelleschi 420:Contessina de' Bardi 299:International Gothic 233:[donaˈtɛllo] 87:Republic of Florence 70:Republic of Florence 7529:Medici coat of arms 7451:Niccolò Machiavelli 6914:Vincenzo II Gonzaga 6250:(marble, 1408–1409) 6147:, 30 November 2021. 6048:Pope-Hennessy, John 5904:Rubin, Patricia Lee 5826:Konody, Paul George 5750:Coonin, A. Victor, 5679:Minor planet center 4362:Seymour, 65-66, 79. 2958:Santa Maria Novella 2539:Inventive forms of 1976:Other work in Padua 1852:. One pair has the 1842:Early Christian art 1546:Donatello's bronze 1300:sculptures for the 1227:Giovanni de' Medici 1223:Florence Baptistery 1080:on the base of his 989:, 1418–20, Bargello 819:Santa Maria Novella 691:, with Donatello's 538:Florence Baptistery 475:Florence Baptistery 246:classical sculpture 7715:Catholic sculptors 7258:Villa di Pratolino 6634:Cosimo "The Elder" 6530:Penitent Magdalene 6356:The Feast of Herod 6006:, Routledge, 1994. 5412:Treccani biography 4799:Joachim Poeschke, 3684:In popular culture 3640:Relief, low, tondo 3463:Penitent Magdalene 3310:Florence Cathedral 3219:Lorenzo de' Medici 3194:Sant'Angelo a Nilo 3110:The Feast of Herod 3000:Sacrifice of Isaac 2903:1415 and 1418–1420 2723:Florence Cathedral 2702:Original location 2398:Bartolomeo Bellano 2389: 2363:Lorenzo de' Medici 2330: 2281: 2234: 2200: 2197:San Lorenzo pulpit 2117: 2025: 1989: 1894: 1838: 1758: 1713:Penitent Magdalene 1686:When a Florentine 1680: 1672:Penitent Magdalene 1663: 1544: 1470: 1426: 1333:Thomas the Apostle 1313: 1261:The Feast of Herod 1239:Sant'Angelo a Nilo 1211: 1154:Sant'Angelo a Nilo 1138: 1099:The Feast of Herod 1072: 1055: 1047:The Feast of Herod 1022: 1017:for Orsanmichele, 730: 707:guilds of Florence 699: 697:left of the corner 651:Sacrifice of Isaac 610:Giotto's Campanile 568: 523: 479: 368: 163: 7652: 7651: 7591:Arazzeria Medicea 7517: 7516: 7405:Leonardo da Vinci 7378:Sandro Botticelli 7354: 7353: 7294:San Piero a Sieve 6995: 6994: 6894:Bernardo Salviati 6884:Giovanni Salviati 6690:Dukes of Florence 6649:Piero "The Brief" 6639:Piero "The Gouty" 6627:Lords of Florence 6579: 6578: 6428:Madonna and Child 6422:Sagrestia Vecchia 6166:The New Criterion 6144:The Art Newspaper 6108:Project Gutenberg 5955:978-0-06-174355-9 5916:978-0-300-04909-1 5877:978-3-86502-482-4 5851:978-0-500-20253-1 5760:978-1-78914-130-6 5715:979-12-5463-006-8 5576:Coonin, 212, 240. 5567:Seymour, 202-203. 5531:Avery, Chapter 5. 5281:Seymour, 144-145. 5257:Seymour, 147-148. 5004:, Florence, 2000. 4685:Unlike images of 3860:978-1-4058-8118-0 3681: 3680: 3623:Siena, Cathedral 3544:Madonna and Child 3520:Equestrian statue 3487:Madonna and Child 3137:Siena, Baptistry 2960:, papal apartment 2860:Louis of Toulouse 2744:Wood, polychromed 2705:Current location 2600:Bronze sculptures 2588:Madonna and Child 2541:Madonna and Child 2400:(from Padua) and 2290:Niccolò da Uzzano 2277:Niccolò da Uzzano 2157:Madonna and Child 2134:survives (in the 2075:Francis of Assisi 2041:Holy Conversation 1932:equestrian statue 1850:consular diptychs 1833:Sagrestia Vecchia 1830:Pair of martyrs, 1777:Luca della Robbia 1763:Sagrestia Vecchia 1753:Sagrestia Vecchia 1639:Sandro Botticelli 1566:Cosimo de' Medici 1478:Luca della Robbia 1341:Cosimo de' Medici 643:Beardless Prophet 460:Pistoia Cathedral 428:Buonaccorso Pitti 424:Cosimo de' Medici 291:Madonna and Child 250:Early Renaissance 146: 145: 141:Early Renaissance 84:(aged 79–80) 7722: 7627:Pazzi conspiracy 7586:Venus de' Medici 7576:Medici porcelain 7446:Agnolo Poliziano 7363: 7362: 7121:Poggio Imperiale 7019: 7018: 7009: 7003: 6935:Bernardo Antonio 6909:Ferrante Gonzaga 6760:Queens of France 6624: 6623: 6606: 6599: 6592: 6583: 6582: 6547: 6544: 6518: 6515: 6509:Chellini Madonna 6497: 6494: 6482: 6479: 6467: 6464: 6452: 6449: 6437: 6434: 6403: 6400: 6388: 6385: 6373: 6370: 6342: 6339: 6293: 6290: 6264: 6261: 6241: 6238: 6228: 6225: 6197: 6190: 6183: 6174: 6173: 6116:Chellini Madonna 6030:, Phaidon, 1984. 6023: 6009:Avery, Charles, 6002:Avery, Charles, 5993: 5972: 5970: 5969: 5899: 5889: 5881: 5862: 5812:Janson, Horst W. 5784:Hartt, Frederick 5766:Jones, Johnathan 5737: 5727: 5719: 5688:Avery, Charles, 5681: 5676: 5670: 5669: 5667: 5665: 5648: 5642: 5641: 5639: 5637: 5621: 5615: 5612: 5606: 5601: 5595: 5592: 5586: 5583: 5577: 5574: 5568: 5565: 5559: 5556: 5550: 5547: 5541: 5538: 5532: 5529: 5523: 5520: 5514: 5503: 5497: 5494: 5488: 5485: 5479: 5476: 5470: 5467: 5461: 5458: 5452: 5449: 5443: 5421: 5415: 5409: 5403: 5400: 5394: 5391: 5385: 5382: 5376: 5375:is one of these. 5369: 5363: 5362:Coonin, 199-202. 5360: 5354: 5353:Coonin, 202-203. 5351: 5345: 5342: 5336: 5335:Coonin, 123-125. 5333: 5327: 5324: 5318: 5315: 5309: 5306: 5300: 5297: 5291: 5290:Coonin, 266-268. 5288: 5282: 5279: 5273: 5264: 5258: 5255: 5249: 5234:Virgin and Child 5224:Janson 1963 II, 5222: 5216: 5213: 5207: 5202:Janson 1963 II, 5200: 5194: 5191: 5185: 5184:Coonin, 180-182. 5182: 5176: 5173: 5167: 5164: 5158: 5155: 5149: 5146: 5140: 5137: 5131: 5128: 5122: 5119: 5113: 5110: 5104: 5101: 5095: 5092: 5086: 5085:Coonin, 169-170. 5083: 5077: 5074: 5068: 5067:Coonin, 164-168. 5065: 5059: 5058:Coonin, 161-162. 5056: 5050: 5047: 5041: 5038: 5032: 5029: 5023: 5020: 5014: 5011: 5005: 4998: 4992: 4989: 4983: 4980: 4974: 4971: 4965: 4963: 4961: 4959: 4944: 4938: 4936: 4934: 4932: 4917: 4911: 4909: 4907: 4905: 4891: 4885: 4883: 4881: 4879: 4863: 4857: 4854: 4848: 4845:Pantheon München 4841: 4835: 4832: 4826: 4825:Coonin, 151-152. 4823: 4817: 4812:Louis Crompton, 4810: 4804: 4797: 4791: 4789: 4771: 4765: 4758: 4752: 4741: 4735: 4732: 4726: 4723: 4717: 4714: 4708: 4705: 4699: 4698:Coonin, 142-147. 4696: 4690: 4683: 4677: 4674: 4668: 4665: 4659: 4656: 4650: 4647: 4641: 4638: 4632: 4629: 4623: 4622:Coonin, 136-138. 4620: 4614: 4611: 4605: 4602: 4596: 4595:Coonan, 112-119. 4593: 4587: 4584: 4578: 4575: 4569: 4566: 4560: 4557: 4551: 4548: 4542: 4539: 4533: 4532:Coonin, 105-106. 4530: 4524: 4521: 4515: 4512: 4506: 4503: 4497: 4496: 4494: 4492: 4477: 4471: 4470:Coonin, 103-104. 4468: 4462: 4459: 4453: 4450: 4444: 4441: 4435: 4432: 4426: 4425:Coonin, 103-104. 4423: 4417: 4414: 4408: 4405: 4399: 4396: 4390: 4387: 4381: 4378: 4372: 4369: 4363: 4360: 4354: 4351: 4345: 4342: 4336: 4333: 4327: 4324: 4318: 4315: 4309: 4306: 4300: 4297: 4291: 4288: 4282: 4279: 4273: 4270: 4264: 4261: 4255: 4252: 4246: 4243: 4237: 4234: 4228: 4225: 4219: 4216: 4210: 4207: 4201: 4198: 4192: 4189: 4183: 4180: 4174: 4171: 4165: 4162: 4156: 4153: 4147: 4130: 4124: 4121: 4115: 4112: 4106: 4103: 4097: 4094: 4088: 4087: 4084:Lorenzo Ghiberti 4078: 4072: 4065: 4059: 4056: 4050: 4046: 4040: 4037: 4031: 4028: 4022: 4019: 4013: 4010:Ruberto Martelli 4006: 4000: 3997: 3991: 3988: 3982: 3979: 3973: 3970: 3964: 3961: 3955: 3952: 3946: 3943: 3937: 3934: 3928: 3925: 3919: 3916: 3910: 3907: 3901: 3898: 3892: 3889: 3883: 3882:Coonin, 79, 120. 3880: 3874: 3871: 3865: 3864: 3849:(3 April 2008). 3843: 3837: 3836: 3822: 3805: 3773: 3711:Rhett McLaughlin 3634:Chellini Madonna 3604:John the Baptist 3588: 3585: 3542:High altar with 3525:Bronze, (marble) 3409:John the Baptist 3344:Cathedral Museum 3278:Statue on column 3243:Statue on column 2947:Statue on column 2687: 2686: 2668: 2644: 2622: 2610: 2583: 2568: 2552: 2529:The high relief 2526: 2516: 2513: 2507: 2492: 2257:Chellini Madonna 2230:Chellini Madonna 2149:John the Baptist 2071:Anthony of Padua 2068: 2065: 2037:Virgin and Child 1912: 1809:Four Evangelists 1807:are ones of the 1739:The Old Sacristy 1631:Angelo Poliziano 1449:Siena Baptistery 1325:Girdle of Thomas 1286:Virgin and Child 1176:Virgin and Child 1146:reliefs include 1112:vanishing points 1104:John the Baptist 1090:Siena Baptistery 1052:Siena Baptistery 980: 959: 941: 926: 911: 899: 878: 858: 618:Nanni di Bartolo 534:Lorenzo Ghiberti 492:Lorenzo Ghiberti 397:tiratore di lana 303:Lorenzo Ghiberti 235: 230: 226: 225: 222: 221: 218: 215: 212: 209: 206: 203: 200: 197: 194: 187: 174: 171: 113: 83: 80:13 December 1466 66: 63: 42: 28: 27: 7730: 7729: 7725: 7724: 7723: 7721: 7720: 7719: 7655: 7654: 7653: 7648: 7595: 7559: 7543: 7513: 7492: 7488:Galileo Galilei 7476: 7472:Marsilio Ficino 7455: 7434: 7350: 7308: 7262: 7253:Medici fountain 7241: 7175: 7061:Poggio a Caiano 7010: 7005: 7004: 6991: 6975: 6949: 6918: 6904:Lorenzo Strozzi 6899:Niccolò Ridolfi 6879:Luigi de' Rossi 6873: 6866:Francesco Maria 6802: 6776: 6755: 6707: 6684: 6615: 6613:House of Medici 6610: 6580: 6575: 6571:Renaissance art 6559: 6545: 6516: 6495: 6480: 6465: 6450: 6435: 6401: 6386: 6371: 6340: 6291: 6262: 6239: 6226: 6206: 6201: 6068: 6021: 5999: 5997:Further reading 5982:, ed. (1911). " 5967: 5965: 5963: 5932:Vasari, Giorgio 5883: 5882: 5878: 5721: 5720: 5716: 5685: 5684: 5677: 5673: 5663: 5661: 5649: 5645: 5635: 5633: 5623: 5622: 5618: 5613: 5609: 5602: 5598: 5593: 5589: 5584: 5580: 5575: 5571: 5566: 5562: 5557: 5553: 5548: 5544: 5539: 5535: 5530: 5526: 5521: 5517: 5513:); Coonin, 217. 5507:Mino da Fiesole 5504: 5500: 5495: 5491: 5486: 5482: 5477: 5473: 5468: 5464: 5459: 5455: 5450: 5446: 5422: 5418: 5410: 5406: 5401: 5397: 5392: 5388: 5383: 5379: 5370: 5366: 5361: 5357: 5352: 5348: 5343: 5339: 5334: 5330: 5325: 5321: 5316: 5312: 5307: 5303: 5298: 5294: 5289: 5285: 5280: 5276: 5265: 5261: 5256: 5252: 5230:plates 242, 243 5223: 5219: 5214: 5210: 5201: 5197: 5192: 5188: 5183: 5179: 5174: 5170: 5165: 5161: 5156: 5152: 5147: 5143: 5138: 5134: 5129: 5125: 5120: 5116: 5111: 5107: 5102: 5098: 5093: 5089: 5084: 5080: 5075: 5071: 5066: 5062: 5057: 5053: 5048: 5044: 5039: 5035: 5030: 5026: 5021: 5017: 5012: 5008: 4999: 4995: 4990: 4986: 4981: 4977: 4972: 4968: 4957: 4955: 4946: 4945: 4941: 4930: 4928: 4918: 4914: 4903: 4901: 4893: 4892: 4888: 4877: 4875: 4864: 4860: 4855: 4851: 4842: 4838: 4833: 4829: 4824: 4820: 4811: 4807: 4798: 4794: 4786: 4772: 4768: 4759: 4755: 4742: 4738: 4733: 4729: 4724: 4720: 4715: 4711: 4706: 4702: 4697: 4693: 4684: 4680: 4675: 4671: 4666: 4662: 4657: 4653: 4648: 4644: 4639: 4635: 4630: 4626: 4621: 4617: 4612: 4608: 4603: 4599: 4594: 4590: 4585: 4581: 4576: 4572: 4567: 4563: 4558: 4554: 4549: 4545: 4540: 4536: 4531: 4527: 4522: 4518: 4513: 4509: 4504: 4500: 4490: 4488: 4478: 4474: 4469: 4465: 4460: 4456: 4452:Coonan, 97-100. 4451: 4447: 4442: 4438: 4433: 4429: 4424: 4420: 4416:Coonin, 98-104. 4415: 4411: 4406: 4402: 4397: 4393: 4388: 4384: 4379: 4375: 4370: 4366: 4361: 4357: 4352: 4348: 4343: 4339: 4334: 4330: 4325: 4321: 4316: 4312: 4307: 4303: 4299:Seymour, 72-73. 4298: 4294: 4289: 4285: 4280: 4276: 4271: 4267: 4262: 4258: 4253: 4249: 4244: 4240: 4235: 4231: 4226: 4222: 4217: 4213: 4208: 4204: 4200:Seymour, 56-57. 4199: 4195: 4190: 4186: 4181: 4177: 4172: 4168: 4163: 4159: 4154: 4150: 4131: 4127: 4122: 4118: 4113: 4109: 4104: 4100: 4095: 4091: 4079: 4075: 4066: 4062: 4057: 4053: 4047: 4043: 4038: 4034: 4029: 4025: 4020: 4016: 4007: 4003: 3998: 3994: 3989: 3985: 3980: 3976: 3971: 3967: 3962: 3958: 3953: 3949: 3944: 3940: 3935: 3931: 3926: 3922: 3917: 3913: 3908: 3904: 3899: 3895: 3890: 3886: 3881: 3877: 3872: 3868: 3861: 3844: 3840: 3823: 3819: 3814: 3809: 3808: 3796:Pliny the Elder 3774: 3770: 3765: 3686: 3586: 3284:1430s–1450s (?) 3223:Salviati family 2865:Statue in niche 2862:with tabernacle 2838:Statue in niche 2793:John Evangelist 2780:Palazzo Vecchio 2775:1408–1409, 1416 2741:Crucifix statue 2685: 2679: 2672: 2669: 2660: 2658:Ancillary works 2653: 2645: 2636: 2623: 2614: 2611: 2602: 2595: 2584: 2575: 2569: 2560: 2553: 2544: 2534: 2527: 2518: 2514: 2508: 2499: 2493: 2484: 2479: 2451: 2440:Michelangelo's 2385:Palazzo Vecchio 2371: 2325:, 1446–50, now 2313: 2269: 2221: 2185: 2153:Siena Cathedral 2110:Siena Cathedral 2097: 2066: 2033:bronze crucifix 1978: 1905:Erasmo da Narni 1881: 1876: 1862:Antonio Manetti 1854:Twelve Apostles 1741: 1694:commissioned a 1651: 1623:Detti piacevoli 1529: 1414: 1377:panel with the 1317:Prato Cathedral 1276:, naked winged 1188: 1000: 990: 981: 972: 960: 951: 942: 933: 927: 918: 915:Bearded Prophet 912: 903: 900: 891: 879: 870: 859: 849: 811: 682: 662:Michelangelo's 647:Bearded Prophet 596:Palazzo Vecchio 573: 555: 509:Antonio Manetti 488:Antonio Manetti 444: 401:Arte della Lana 389: 360:Antonio Manetti 322: 228: 191: 185: 184: 172: 127: 121: 111: 88: 85: 81: 72: 67: 64: 60: 59: 49: 33: 24: 17: 12: 11: 5: 7728: 7718: 7717: 7712: 7707: 7702: 7697: 7692: 7687: 7682: 7677: 7672: 7667: 7650: 7649: 7647: 7646: 7645: 7644: 7634: 7629: 7624: 7619: 7614: 7612:Galilean moons 7609: 7607:Medici giraffe 7603: 7601: 7597: 7596: 7594: 7593: 7588: 7583: 7578: 7573: 7567: 7565: 7561: 7560: 7558: 7557: 7551: 7549: 7545: 7544: 7542: 7541: 7536: 7531: 7525: 7523: 7519: 7518: 7515: 7514: 7512: 7511: 7506: 7500: 7498: 7494: 7493: 7491: 7490: 7484: 7482: 7478: 7477: 7475: 7474: 7469: 7463: 7461: 7457: 7456: 7454: 7453: 7448: 7442: 7440: 7436: 7435: 7433: 7432: 7430:Giorgio Vasari 7427: 7422: 7417: 7412: 7407: 7402: 7397: 7396: 7395: 7385: 7380: 7375: 7369: 7367: 7360: 7356: 7355: 7352: 7351: 7349: 7348: 7343: 7342: 7341: 7336: 7325:Medici Chapels 7322: 7316: 7314: 7310: 7309: 7307: 7306: 7301: 7296: 7291: 7286: 7281: 7276: 7270: 7268: 7264: 7263: 7261: 7260: 7255: 7249: 7247: 7243: 7242: 7240: 7239: 7234: 7229: 7224: 7219: 7214: 7209: 7204: 7199: 7197:Palazzo Madama 7194: 7189: 7183: 7181: 7177: 7176: 7174: 7173: 7168: 7163: 7158: 7153: 7151:Montevettolini 7148: 7143: 7138: 7133: 7128: 7123: 7118: 7113: 7108: 7103: 7098: 7093: 7088: 7083: 7078: 7073: 7068: 7063: 7058: 7053: 7048: 7043: 7038: 7033: 7027: 7025: 7016: 7012: 7011: 6998: 6996: 6993: 6992: 6990: 6989: 6983: 6981: 6977: 6976: 6974: 6973: 6968: 6963: 6957: 6955: 6951: 6950: 6948: 6947: 6942: 6937: 6932: 6926: 6924: 6920: 6919: 6917: 6916: 6911: 6906: 6901: 6896: 6891: 6889:Innocenzo Cybo 6886: 6881: 6868: 6863: 6858: 6853: 6848: 6843: 6838: 6832: 6827: 6821: 6810: 6808: 6804: 6803: 6801: 6800: 6795: 6790: 6784: 6782: 6778: 6777: 6775: 6774: 6769: 6763: 6761: 6757: 6756: 6754: 6753: 6748: 6743: 6738: 6733: 6728: 6723: 6717: 6715: 6709: 6708: 6706: 6705: 6700: 6694: 6692: 6686: 6685: 6683: 6682: 6677: 6672: 6666: 6661: 6656: 6651: 6646: 6641: 6636: 6630: 6628: 6621: 6617: 6616: 6609: 6608: 6601: 6594: 6586: 6577: 6576: 6574: 6573: 6567: 6565: 6561: 6560: 6558: 6557: 6549: 6534: 6526: 6520: 6505: 6499: 6484: 6469: 6454: 6439: 6424: 6419: 6411: 6405: 6390: 6375: 6360: 6352: 6344: 6331: 6325: 6319: 6311: 6303: 6295: 6274: 6266: 6251: 6243: 6230: 6214: 6212: 6208: 6207: 6200: 6199: 6192: 6185: 6177: 6171: 6170: 6148: 6123: 6111: 6097: 6091: 6081: 6075: 6074:on artble.com. 6067: 6066:External links 6064: 6063: 6062: 6055: 6045: 6038: 6031: 6024: 6014: 6007: 5998: 5995: 5980:Chisholm, Hugh 5962: 5961: 5943: 5929: 5922: 5900: 5876: 5863: 5854: 5839: 5823: 5809: 5799: 5781: 5763: 5748: 5741:Clark, Kenneth 5738: 5714: 5701: 5683: 5682: 5671: 5643: 5616: 5607: 5596: 5587: 5578: 5569: 5560: 5551: 5542: 5533: 5524: 5515: 5505:Seymour, 139 ( 5498: 5489: 5480: 5471: 5462: 5453: 5444: 5416: 5404: 5395: 5386: 5377: 5364: 5355: 5346: 5337: 5328: 5319: 5310: 5301: 5292: 5283: 5274: 5259: 5250: 5238:plates 290–293 5217: 5208: 5195: 5186: 5177: 5168: 5159: 5150: 5141: 5132: 5123: 5114: 5105: 5096: 5087: 5078: 5069: 5060: 5051: 5042: 5033: 5024: 5015: 5006: 4993: 4984: 4975: 4966: 4939: 4912: 4886: 4858: 4849: 4836: 4827: 4818: 4805: 4792: 4784: 4766: 4753: 4736: 4727: 4718: 4709: 4700: 4691: 4678: 4669: 4660: 4651: 4642: 4633: 4624: 4615: 4606: 4597: 4588: 4579: 4577:Coonin, 92-93. 4570: 4561: 4552: 4543: 4534: 4525: 4516: 4507: 4498: 4472: 4463: 4461:Coonin, 88-93. 4454: 4445: 4436: 4427: 4418: 4409: 4400: 4391: 4382: 4373: 4364: 4355: 4346: 4337: 4328: 4326:Coonin, 61-64. 4319: 4317:Coonin, 84-85. 4310: 4301: 4292: 4283: 4274: 4265: 4256: 4247: 4238: 4229: 4220: 4211: 4202: 4193: 4184: 4175: 4166: 4157: 4148: 4125: 4116: 4107: 4098: 4089: 4073: 4060: 4051: 4041: 4032: 4023: 4014: 4001: 3992: 3983: 3981:Coonin, 17-18. 3974: 3965: 3956: 3947: 3945:Coonin, 78-79. 3938: 3929: 3920: 3911: 3909:Coonin, 11-12. 3902: 3893: 3891:Coonin, 26-27. 3884: 3875: 3866: 3859: 3838: 3816: 3815: 3813: 3810: 3807: 3806: 3767: 3766: 3764: 3761: 3685: 3682: 3679: 3678: 3675: 3670: 3667: 3664: 3661: 3657: 3656: 3650: 3647: 3644: 3643:Bronze, gilded 3641: 3638: 3625: 3624: 3621: 3615: 3612: 3609: 3606: 3600: 3599: 3596: 3593:Palazzo Medici 3589: 3580: 3577: 3574: 3566: 3565: 3562: 3556: 3553: 3550: 3547: 3539: 3538: 3535: 3529: 3526: 3523: 3517: 3509: 3508: 3502: 3499: 3496: 3493: 3490: 3482: 3481: 3478: 3475: 3472: 3469: 3466: 3458: 3457: 3454: 3451: 3448: 3445: 3442: 3434: 3433: 3430: 3421: 3418: 3415: 3412: 3404: 3403: 3400: 3397: 3394: 3388: 3382: 3376: 3375: 3372: 3366: 3363: 3357: 3354: 3347: 3346: 3340: 3331: 3328: 3325: 3322: 3315: 3314: 3311: 3308: 3305: 3302: 3299: 3292: 3291: 3288: 3285: 3282: 3279: 3276: 3264: 3263: 3256: 3250: 3247: 3244: 3241: 3230: 3229: 3226: 3215: 3212: 3209: 3206: 3200: 3199: 3196: 3187: 3184: 3181: 3178: 3167: 3166: 3157: 3154: 3151: 3148: 3145: 3139: 3138: 3135: 3133:Baptismal font 3122: 3119: 3116: 3113: 3105: 3104: 3101: 3098: 3095: 3092: 3089: 3076: 3075: 3072: 3069: 3066: 3063: 3060: 3054: 3053: 3044: 3038: 3035: 3034:Bronze, gilded 3032: 3030:reliquary bust 3026: 3018: 3017: 3014: 3011: 3008: 3005: 3002: 2996: 2995: 2985: 2982: 2979: 2976: 2973: 2965: 2964: 2961: 2954: 2951: 2948: 2945: 2937: 2936: 2933: 2927: 2924: 2921: 2918: 2914: 2913: 2910: 2904: 2901: 2898: 2895: 2883: 2882: 2879: 2876: 2873: 2866: 2863: 2855: 2854: 2851: 2845: 2842: 2839: 2836: 2830: 2829: 2828:disintegrated 2826: 2823: 2820: 2817: 2814: 2810: 2809: 2806: 2803: 2800: 2797: 2794: 2790: 2789: 2783: 2776: 2773: 2770: 2767: 2758: 2757: 2754: 2748: 2745: 2742: 2739: 2733: 2732: 2726: 2720: 2717: 2714: 2711: 2707: 2706: 2703: 2700: 2697: 2694: 2691: 2678: 2677:Selected works 2675: 2674: 2673: 2670: 2663: 2659: 2656: 2655: 2654: 2646: 2639: 2637: 2633:Duomo di Siena 2624: 2617: 2615: 2612: 2605: 2601: 2598: 2597: 2596: 2585: 2578: 2576: 2570: 2563: 2561: 2554: 2547: 2543: 2537: 2536: 2535: 2533:, c. 1436–1438 2528: 2521: 2519: 2509: 2502: 2500: 2494: 2487: 2483: 2480: 2478: 2475: 2450: 2447: 2370: 2367: 2333:Giorgio Vasari 2312: 2306: 2268: 2265: 2220: 2217: 2184: 2181: 2096: 2093: 2016:Man of Sorrows 1977: 1974: 1880: 1877: 1875: 1872: 1844:, such as the 1740: 1737: 1650: 1649:Wooden statues 1647: 1580:Duchy of Milan 1562:Palazzo Medici 1535:Detail of the 1528: 1522: 1468:, c. 1440-1442 1453:Feast of Herod 1420:Detail of the 1413: 1407: 1302:Palazzo Medici 1283:Images of the 1187: 1184: 1011:, base of his 999: 993: 992: 991: 982: 975: 973: 961: 954: 952: 943: 936: 934: 928: 921: 919: 913: 906: 904: 901: 894: 892: 880: 873: 871: 860: 853: 810: 807: 681: 678: 577:Nanni di Banco 572: 569: 554: 551: 443: 440: 388: 385: 321: 318: 144: 143: 138: 134: 133: 114: 108: 107: 104: 103:Known for 100: 99: 94: 90: 89: 86: 78: 74: 73: 68: 57: 55: 51: 50: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 7727: 7716: 7713: 7711: 7708: 7706: 7703: 7701: 7698: 7696: 7693: 7691: 7688: 7686: 7683: 7681: 7678: 7676: 7673: 7671: 7668: 7666: 7663: 7662: 7660: 7643: 7640: 7639: 7638: 7635: 7633: 7630: 7628: 7625: 7623: 7620: 7618: 7615: 7613: 7610: 7608: 7605: 7604: 7602: 7598: 7592: 7589: 7587: 7584: 7582: 7579: 7577: 7574: 7572: 7569: 7568: 7566: 7562: 7556: 7553: 7552: 7550: 7546: 7540: 7537: 7535: 7532: 7530: 7527: 7526: 7524: 7520: 7510: 7507: 7505: 7502: 7501: 7499: 7495: 7489: 7486: 7485: 7483: 7479: 7473: 7470: 7468: 7465: 7464: 7462: 7458: 7452: 7449: 7447: 7444: 7443: 7441: 7437: 7431: 7428: 7426: 7423: 7421: 7418: 7416: 7413: 7411: 7408: 7406: 7403: 7401: 7398: 7394: 7391: 7390: 7389: 7386: 7384: 7381: 7379: 7376: 7374: 7371: 7370: 7368: 7364: 7361: 7357: 7347: 7344: 7340: 7337: 7335: 7332: 7331: 7330: 7326: 7323: 7321: 7318: 7317: 7315: 7311: 7305: 7302: 7300: 7297: 7295: 7292: 7290: 7287: 7285: 7282: 7280: 7277: 7275: 7272: 7271: 7269: 7265: 7259: 7256: 7254: 7251: 7250: 7248: 7244: 7238: 7235: 7233: 7230: 7228: 7225: 7223: 7220: 7218: 7215: 7213: 7210: 7208: 7205: 7203: 7202:Palazzo Pitti 7200: 7198: 7195: 7193: 7190: 7188: 7185: 7184: 7182: 7178: 7172: 7169: 7167: 7164: 7162: 7159: 7157: 7154: 7152: 7149: 7147: 7144: 7142: 7139: 7137: 7134: 7132: 7129: 7127: 7124: 7122: 7119: 7117: 7114: 7112: 7109: 7107: 7106:Cerreto Guidi 7104: 7102: 7099: 7097: 7094: 7092: 7089: 7087: 7084: 7082: 7079: 7077: 7074: 7072: 7069: 7067: 7064: 7062: 7059: 7057: 7056:Collesalvetti 7054: 7052: 7049: 7047: 7044: 7042: 7039: 7037: 7034: 7032: 7029: 7028: 7026: 7024: 7020: 7017: 7013: 7008: 7007:Festina Lente 7002: 6988: 6985: 6984: 6982: 6978: 6972: 6969: 6967: 6964: 6962: 6959: 6958: 6956: 6952: 6946: 6943: 6941: 6938: 6936: 6933: 6931: 6928: 6927: 6925: 6921: 6915: 6912: 6910: 6907: 6905: 6902: 6900: 6897: 6895: 6892: 6890: 6887: 6885: 6882: 6880: 6876: 6872: 6869: 6867: 6864: 6862: 6859: 6857: 6854: 6852: 6849: 6847: 6844: 6842: 6839: 6836: 6833: 6831: 6828: 6826:(Clement VII) 6825: 6822: 6819: 6815: 6812: 6811: 6809: 6805: 6799: 6796: 6794: 6791: 6789: 6786: 6785: 6783: 6779: 6773: 6770: 6768: 6765: 6764: 6762: 6758: 6752: 6749: 6747: 6744: 6742: 6741:Ferdinando II 6739: 6737: 6734: 6732: 6729: 6727: 6724: 6722: 6719: 6718: 6716: 6714: 6710: 6704: 6701: 6699: 6696: 6695: 6693: 6691: 6687: 6681: 6678: 6676: 6673: 6671:(Clement VII) 6670: 6667: 6665: 6662: 6660: 6657: 6655: 6652: 6650: 6647: 6645: 6642: 6640: 6637: 6635: 6632: 6631: 6629: 6625: 6622: 6618: 6614: 6607: 6602: 6600: 6595: 6593: 6588: 6587: 6584: 6572: 6569: 6568: 6566: 6562: 6555: 6554: 6550: 6540: 6539: 6535: 6532: 6531: 6527: 6524: 6521: 6511: 6510: 6506: 6503: 6500: 6490: 6489: 6485: 6475: 6474: 6470: 6460: 6459: 6455: 6445: 6444: 6440: 6431:(attributed; 6430: 6429: 6425: 6423: 6420: 6417: 6416: 6412: 6409: 6406: 6396: 6395: 6391: 6381: 6380: 6376: 6366: 6365: 6364:Pazzi Madonna 6361: 6358: 6357: 6353: 6350: 6349: 6345: 6335: 6332: 6329: 6326: 6323: 6320: 6317: 6316: 6312: 6309: 6308: 6304: 6301: 6300: 6296: 6286: 6285: 6280: 6279: 6275: 6272: 6271: 6267: 6258:(attributed; 6257: 6256: 6252: 6249: 6248: 6244: 6234: 6231: 6221: 6220: 6216: 6215: 6213: 6209: 6205: 6198: 6193: 6191: 6186: 6184: 6179: 6178: 6175: 6168: 6167: 6162: 6158: 6154: 6153: 6149: 6146: 6145: 6140: 6137: 6133: 6129: 6128: 6124: 6122: 6118: 6117: 6112: 6109: 6105: 6101: 6098: 6095: 6092: 6089: 6085: 6082: 6079: 6076: 6073: 6070: 6069: 6060: 6056: 6053: 6049: 6046: 6043: 6039: 6036: 6032: 6029: 6025: 6019: 6015: 6012: 6008: 6005: 6001: 6000: 5994: 5991: 5990: 5985: 5981: 5976: 5975:public domain 5960: 5956: 5952: 5948: 5944: 5941: 5937: 5933: 5930: 5927: 5923: 5921: 5917: 5913: 5909: 5905: 5901: 5897: 5893: 5887: 5879: 5873: 5869: 5864: 5860: 5855: 5852: 5848: 5844: 5840: 5837: 5836: 5831: 5827: 5824: 5821: 5817: 5813: 5810: 5807: 5803: 5800: 5797: 5796:0-500-23510-4 5793: 5789: 5785: 5782: 5779: 5778:9781849833929 5775: 5771: 5767: 5764: 5761: 5757: 5753: 5749: 5746: 5742: 5739: 5735: 5731: 5725: 5717: 5711: 5707: 5702: 5699: 5698:0-7195-1932-2 5695: 5691: 5687: 5686: 5680: 5675: 5660: 5659: 5654: 5647: 5632: 5631: 5626: 5620: 5611: 5605: 5600: 5591: 5582: 5573: 5564: 5555: 5546: 5537: 5528: 5519: 5512: 5508: 5502: 5493: 5484: 5475: 5466: 5457: 5448: 5441: 5437: 5433: 5429: 5427: 5420: 5413: 5408: 5399: 5390: 5384:Seymour, 124. 5381: 5374: 5368: 5359: 5350: 5341: 5332: 5323: 5314: 5305: 5296: 5287: 5278: 5271: 5270: 5266:Coonin, 230; 5263: 5254: 5247: 5244:are shown on 5243: 5239: 5235: 5231: 5227: 5221: 5212: 5205: 5199: 5190: 5181: 5172: 5163: 5154: 5148:Seymour, 125. 5145: 5136: 5127: 5118: 5109: 5100: 5091: 5082: 5073: 5064: 5055: 5046: 5037: 5028: 5019: 5010: 5003: 4997: 4988: 4979: 4970: 4953: 4949: 4943: 4927: 4923: 4916: 4900: 4896: 4890: 4873: 4869: 4862: 4853: 4846: 4840: 4831: 4822: 4815: 4809: 4802: 4796: 4787: 4785:1-57344-191-0 4781: 4777: 4770: 4763: 4757: 4750: 4746: 4740: 4731: 4722: 4713: 4707:Clark, 48-49. 4704: 4695: 4688: 4682: 4673: 4664: 4655: 4646: 4637: 4628: 4619: 4610: 4604:Olson, 78-79. 4601: 4592: 4583: 4574: 4565: 4556: 4547: 4538: 4529: 4520: 4511: 4502: 4487: 4483: 4476: 4467: 4458: 4449: 4440: 4431: 4422: 4413: 4407:Olson, 79-82. 4404: 4395: 4386: 4377: 4368: 4359: 4350: 4341: 4332: 4323: 4314: 4305: 4296: 4287: 4278: 4269: 4260: 4251: 4242: 4233: 4224: 4215: 4206: 4197: 4188: 4179: 4170: 4161: 4152: 4145: 4144:Young Prophet 4141: 4136: 4129: 4120: 4111: 4102: 4093: 4085: 4077: 4070: 4064: 4055: 4049:Renaissance". 4045: 4036: 4027: 4018: 4011: 4005: 3996: 3987: 3978: 3969: 3960: 3951: 3942: 3933: 3924: 3915: 3906: 3897: 3888: 3879: 3870: 3862: 3856: 3852: 3848: 3842: 3834: 3833: 3828: 3821: 3817: 3803: 3802: 3797: 3793: 3789: 3785: 3784: 3778: 3772: 3768: 3760: 3758: 3757: 3752: 3751: 3746: 3742: 3738: 3734: 3731: 3727: 3722: 3720: 3716: 3712: 3708: 3705:, one of the 3704: 3699: 3697: 3696: 3691: 3676: 3674: 3671: 3668: 3665: 3662: 3659: 3658: 3655: 3651: 3648: 3645: 3642: 3639: 3636: 3635: 3630: 3627: 3626: 3622: 3620: 3616: 3613: 3610: 3607: 3605: 3602: 3601: 3597: 3594: 3590: 3581: 3578: 3575: 3573: 3572: 3568: 3567: 3563: 3561: 3557: 3554: 3551: 3548: 3545: 3541: 3540: 3536: 3533: 3530: 3527: 3524: 3521: 3518: 3516: 3515: 3511: 3510: 3507: 3503: 3500: 3497: 3494: 3491: 3489: 3488: 3484: 3483: 3479: 3476: 3474:1440–1442 (?) 3473: 3470: 3467: 3465: 3464: 3460: 3459: 3455: 3452: 3449: 3446: 3443: 3441: 3440: 3436: 3435: 3431: 3429: 3425: 3422: 3419: 3416: 3413: 3411: 3410: 3406: 3405: 3401: 3398: 3395: 3392: 3391:Pietra serena 3389: 3387: 3383: 3381: 3378: 3377: 3373: 3371: 3367: 3364: 3362: 3358: 3355: 3352: 3349: 3348: 3345: 3341: 3339: 3335: 3332: 3329: 3326: 3323: 3320: 3317: 3316: 3312: 3309: 3306: 3303: 3300: 3298: 3294: 3293: 3289: 3286: 3283: 3280: 3277: 3275: 3271: 3270: 3266: 3265: 3261: 3257: 3255: 3251: 3248: 3245: 3242: 3239: 3235: 3232: 3231: 3227: 3224: 3220: 3216: 3213: 3210: 3207: 3205: 3202: 3201: 3197: 3195: 3191: 3188: 3185: 3182: 3179: 3176: 3172: 3169: 3168: 3165: 3161: 3158: 3155: 3152: 3149: 3146: 3144: 3141: 3140: 3136: 3134: 3130: 3126: 3123: 3120: 3117: 3114: 3112: 3111: 3107: 3106: 3102: 3099: 3096: 3093: 3090: 3087: 3083: 3082: 3078: 3077: 3073: 3070: 3067: 3064: 3061: 3059: 3056: 3055: 3052: 3048: 3045: 3043: 3039: 3036: 3033: 3031: 3027: 3025: 3024: 3020: 3019: 3015: 3012: 3009: 3006: 3003: 3001: 2998: 2997: 2993: 2989: 2986: 2983: 2980: 2977: 2974: 2972: 2971: 2970:Pazzi Madonna 2967: 2966: 2962: 2959: 2955: 2952: 2949: 2946: 2944: 2943: 2939: 2938: 2934: 2932: 2928: 2925: 2922: 2919: 2916: 2915: 2911: 2909: 2905: 2902: 2899: 2896: 2893: 2889: 2885: 2884: 2880: 2877: 2874: 2871: 2867: 2864: 2861: 2857: 2856: 2852: 2850: 2846: 2843: 2840: 2837: 2835: 2832: 2831: 2827: 2824: 2821: 2818: 2815: 2812: 2811: 2807: 2804: 2801: 2798: 2795: 2792: 2791: 2788: 2784: 2781: 2777: 2774: 2771: 2768: 2766: 2764: 2760: 2759: 2755: 2753: 2749: 2746: 2743: 2740: 2738: 2735: 2734: 2731: 2727: 2724: 2721: 2718: 2715: 2712: 2709: 2708: 2704: 2701: 2698: 2695: 2692: 2689: 2688: 2684: 2667: 2662: 2661: 2651: 2650: 2643: 2638: 2634: 2630: 2629: 2621: 2616: 2609: 2604: 2603: 2594: 2590: 2589: 2582: 2577: 2573: 2567: 2562: 2558: 2551: 2546: 2545: 2542: 2532: 2525: 2520: 2506: 2501: 2497: 2491: 2486: 2485: 2474: 2472: 2468: 2464: 2460: 2456: 2446: 2444: 2443: 2437: 2436: 2431: 2426: 2422: 2420: 2419:Andrea Riccio 2415: 2411: 2405: 2403: 2399: 2395: 2386: 2382: 2381: 2375: 2366: 2364: 2360: 2356: 2351: 2349: 2348:bel capriccio 2345: 2340: 2339: 2334: 2328: 2324: 2323: 2317: 2311: 2305: 2303: 2299: 2295: 2291: 2285: 2278: 2273: 2264: 2262: 2258: 2253: 2251: 2247: 2243: 2239: 2238:stained glass 2232: 2231: 2225: 2216: 2214: 2208: 2206: 2198: 2194: 2189: 2180: 2178: 2173: 2169: 2164: 2162: 2158: 2154: 2150: 2146: 2145: 2139: 2137: 2133: 2128: 2127: 2122: 2115: 2111: 2107: 2106: 2101: 2092: 2090: 2086: 2085: 2080: 2076: 2072: 2061: 2056: 2052: 2050: 2046: 2042: 2038: 2034: 2030: 2022: 2018: 2017: 2012: 2008: 2006: 2002: 1998: 1994: 1986: 1982: 1973: 1970: 1966: 1962: 1961: 1956: 1952: 1948: 1944: 1939: 1937: 1933: 1929: 1924: 1920: 1918: 1917: 1911: 1906: 1903: 1899: 1891: 1890: 1885: 1871: 1869: 1865: 1863: 1857: 1855: 1851: 1847: 1843: 1835: 1834: 1828: 1824: 1822: 1818: 1814: 1810: 1806: 1805:pietra serena 1802: 1797: 1794: 1790: 1786: 1780: 1778: 1774: 1769: 1765: 1764: 1755: 1754: 1749: 1745: 1736: 1734: 1729: 1727: 1723: 1722:Kenneth Clark 1720:According to 1718: 1715: 1714: 1709: 1704: 1701: 1697: 1693: 1689: 1688:confraternity 1684: 1678: 1674: 1673: 1667: 1660: 1655: 1646: 1644: 1640: 1634: 1632: 1628: 1624: 1619: 1617: 1613: 1609: 1608: 1603: 1598: 1594: 1592: 1591: 1586: 1581: 1577: 1573: 1569: 1567: 1563: 1558: 1555: 1552:, now in the 1551: 1550: 1541: 1540: 1533: 1527: 1521: 1519: 1515: 1511: 1510: 1504: 1502: 1498: 1494: 1489: 1486: 1481: 1479: 1475: 1467: 1466: 1461: 1457: 1454: 1450: 1446: 1441: 1439: 1435: 1431: 1423: 1418: 1412: 1406: 1404: 1400: 1396: 1391: 1389: 1384: 1382: 1381: 1376: 1372: 1371:Saint Peter's 1369:surround for 1368: 1362: 1359: 1353: 1350: 1344: 1342: 1338: 1334: 1330: 1329:Sacra Cintola 1326: 1322: 1318: 1309: 1305: 1303: 1299: 1295: 1290: 1288: 1287: 1281: 1279: 1275: 1271: 1267: 1263: 1262: 1257: 1253: 1248: 1244: 1240: 1236: 1231: 1228: 1224: 1220: 1216: 1208: 1203: 1199: 1197: 1196:Medici family 1193: 1183: 1180: 1178: 1177: 1171: 1170: 1165: 1164: 1163:Pazzi Madonna 1159: 1155: 1151: 1150: 1145: 1144: 1135: 1131: 1130: 1125: 1124: 1123:Pazzi Madonna 1119: 1115: 1113: 1107: 1105: 1101: 1100: 1095: 1091: 1086: 1083: 1079: 1078: 1069: 1065: 1064: 1059: 1053: 1049: 1048: 1043: 1039: 1037: 1033: 1032: 1027: 1020: 1016: 1015: 1010: 1009: 1004: 997: 988: 987: 979: 974: 970: 966: 965: 958: 953: 949: 948: 940: 935: 931: 925: 920: 916: 910: 905: 898: 893: 889: 885: 884: 877: 872: 868: 866: 857: 852: 851: 850: 847: 845: 841: 837: 836: 830: 828: 824: 820: 816: 806: 804: 800: 796: 792: 791: 786: 782: 781: 777: 772: 770: 766: 762: 761:Confraternity 758: 757: 751: 749: 745: 741: 737: 736: 728: 724: 720: 719: 714: 710: 708: 704: 696: 695: 690: 686: 677: 675: 670: 666: 665: 658: 656: 652: 648: 644: 639: 637: 633: 629: 628: 623: 619: 614: 611: 606: 604: 599: 597: 593: 589: 588: 580: 578: 565: 564: 559: 550: 548: 543: 539: 535: 530: 528: 520: 519:Young Prophet 516: 512: 510: 506: 500: 498: 493: 489: 485: 476: 472: 467: 463: 461: 457: 453: 449: 439: 435: 433: 429: 425: 421: 417: 413: 409: 404: 402: 398: 394: 384: 381: 376: 373: 372:stained glass 365: 361: 358:, Donatello, 357: 356:Paolo Uccello 353: 348: 344: 342: 341: 334: 332: 331:Medici family 327: 317: 315: 314: 308: 304: 300: 294: 293:s for homes. 292: 288: 284: 280: 275: 273: 272:Medici family 269: 265: 264: 259: 255: 251: 247: 244:, he studied 243: 239: 234: 224: 182: 178: 167: 160: 156: 155: 150: 142: 139: 135: 132: 131: 126: 125: 120: 119: 115: 109: 105: 101: 98: 95: 91: 79: 75: 71: 56: 52: 47: 46:Paolo Uccello 41: 36: 29: 26: 22: 7675:1380s births 7571:Medici lions 7548:Institutions 7409: 7388:Michelangelo 7346:Old Sacristy 7334:New Sacristy 7207:Villa Medici 7131:L'Ambrogiana 7116:Arena Metato 7006: 6966:Don Giovanni 6874: 6856:Giovan Carlo 6846:Ferdinando I 6813: 6751:Gian Gastone 6731:Ferdinando I 6551: 6536: 6528: 6507: 6496: 1440s 6486: 6473:Piot Madonna 6471: 6456: 6441: 6426: 6413: 6392: 6377: 6362: 6354: 6346: 6313: 6305: 6297: 6282: 6278:Saint George 6276: 6268: 6253: 6245: 6217: 6203: 6164: 6159:, New York. 6151: 6142: 6126: 6115: 6058: 6051: 6041: 6034: 6027: 6010: 6003: 5987: 5964: 5959:google books 5946: 5935: 5925: 5920:google books 5907: 5867: 5858: 5842: 5833: 5815: 5805: 5787: 5769: 5751: 5744: 5705: 5689: 5674: 5662:. Retrieved 5656: 5646: 5634:. Retrieved 5628: 5619: 5610: 5599: 5590: 5585:Coonin, 136. 5581: 5572: 5563: 5554: 5545: 5536: 5527: 5518: 5501: 5492: 5483: 5474: 5465: 5460:Rubins, 322. 5456: 5447: 5440:Art Bulletin 5439: 5438:, 1935, in: 5435: 5425: 5419: 5407: 5398: 5389: 5380: 5367: 5358: 5349: 5340: 5331: 5322: 5313: 5308:Coonin, 239. 5304: 5295: 5286: 5277: 5268: 5262: 5253: 5242:Adam and Eve 5241: 5236:is shown on 5233: 5220: 5211: 5198: 5189: 5180: 5171: 5162: 5153: 5144: 5135: 5126: 5117: 5108: 5099: 5090: 5081: 5072: 5063: 5054: 5045: 5036: 5027: 5018: 5009: 5001: 4996: 4987: 4978: 4969: 4956:. Retrieved 4951: 4942: 4929:. Retrieved 4925: 4915: 4902:. Retrieved 4898: 4889: 4876:. Retrieved 4874:(in Italian) 4871: 4861: 4852: 4844: 4839: 4830: 4821: 4813: 4808: 4800: 4795: 4775: 4769: 4764:(see index). 4761: 4756: 4744: 4739: 4730: 4721: 4712: 4703: 4694: 4681: 4672: 4663: 4654: 4645: 4636: 4627: 4618: 4609: 4600: 4591: 4582: 4573: 4564: 4559:Coonin, 109. 4555: 4546: 4537: 4528: 4519: 4510: 4501: 4491:21 September 4489:. 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Leipzig. 5820:Archive-URL 5664:13 February 5636:24 December 5604:Museum page 5558:Hartt, 238. 5487:Coonin, 29. 5478:Coonin, 17. 4856:Clark, 330. 4123:Coonin, 26. 3999:Walker, 11. 3990:Coonin, 18. 3972:Coonin, 18. 3954:Coonin, 10. 3847:Wells, John 3669:1460, after 3587: 1461 3555:1446, after 3498:1445 (1455) 3492:Relief, low 3450:1440, circa 3439:Amore-Attis 3396:1435, circa 3370:San Lorenzo 3208:Relief, low 3180:relief, low 3147:Relief, low 3115:Relief, low 3068:1423, circa 2992:Bode Museum 2981:1420, circa 2975:Relief, low 2926:1416, circa 2870:gilt-bronze 2752:Santa Croce 2515: 1430 2449:Collections 2267:Portraiture 2166:The signed 2141:His bronze 2084:Fall of Man 2067: 1448 1993:Gattamelata 1910:Gattamelata 1902:condottiere 1801:pendentives 1669:Top of the 1616:Amore-Attis 1590:Amore-Attys 1542:from behind 1509:Amore-Attis 1465:Amore-Attis 1066:, 1428–32, 840:Santa Croce 799:Saint Louis 776:gilt-bronze 655:il Populano 497:Commentarii 307:classically 173: 1386 161:in Florence 93:Nationality 65: 1386 7659:Categories 7632:Savonarola 7481:Scientists 7415:Michelozzo 7267:Fortresses 7111:Marignolle 7091:Camugliano 7086:La Petraia 7081:Spedaletto 7071:Mezzomonte 7031:Cafaggiolo 6835:Alessandro 6746:Cosimo III 6664:Lorenzo II 6270:Saint Mark 6211:Sculptures 5902:"Rubins": 5708:. Venice. 5549:Avery, 96. 5540:Avery, 96. 5373:Il Zuccone 5272:, V&A. 5246:295a and b 4872:La Nazione 4658:Olson, 83. 4640:Olson, 84. 4272:Olson, 49. 4191:Olson, 48. 4030:Walker, 9. 3900:Olson, 73. 3812:References 3792:the region 3775:Though an 3591:Florence, 3368:Florence, 3321:, external 3252:Florence, 3225:collection 3042:Ognissanti 3040:Florence, 2956:Florence, 2929:Florence, 2886:Prophets ( 2847:Florence, 2834:Saint Mark 2785:Florence, 2750:Florence, 2728:Florence, 2681:See also: 2625:Statue of 2410:Verrocchio 2387:, Florence 2298:death mask 2259:(c. 1450, 2191:Detail of 2183:Last years 2045:Entombment 1708:Saint John 1514:spiritelli 1493:spiritelli 1445:spiritelli 1434:spiritelli 1411:spiritelli 1375:stiacciato 1367:tabernacle 1337:Assumption 1274:spiritelli 1252:Assumption 1207:spiritelli 1192:Michelozzo 1143:stiacciato 1129:stiacciato 1031:stiacciato 996:Stiacciato 883:Saint Mark 795:Verrocchio 718:St. George 527:goldsmiths 387:Early life 283:bas-relief 240:. 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the 4782: 3857: 3788:italus 3717:video 3666:Bronze 3611:Bronze 3608:Statue 3579:Bronze 3506:Louvre 3468:Statue 3447:Bronze 3444:Statue 3424:Venice 3414:Statue 3361:stucco 3327:Marble 3319:Pulpit 3211:Marble 3190:Naples 3183:Marble 3160:Boston 3150:Marble 3118:Bronze 3094:Marble 3065:Marble 3028:Bust, 3007:Marble 2988:Berlin 2978:Marble 2923:Marble 2900:Marble 2841:Marble 2813:Joshua 2799:Marble 2782:(1416) 2772:Marble 2716:Marble 2713:Statue 2690:Title 2593:Louvre 2471:Louvre 2369:Legacy 2327:Rennes 2172:Judith 2005:Modena 2001:Mantua 1892:, 1450 1821:fresco 1817:Patmos 1813:stucco 1692:Venice 1643:sodomy 1424:frieze 1243:Naples 1140:Other 1134:Berlin 725:, now 721:, for 669:Joshua 380:Vasari 352:Giotto 279:stucco 256:, and 7299:Siena 6851:Carlo 6788:Leo X 6781:Popes 6772:Maria 6488:David 6247:David 6102:, by 4749:JSTOR 3804:9.23. 3781:term 3763:Notes 3582:1457– 3532:Padua 3334:Prato 3269:David 3125:Siena 2763:David 2699:Year 2693:Form 2442:David 2177:David 2121:Siena 1997:Santo 1898:Padua 1836:doors 1726:fakir 1612:David 1585:David 1572:David 1549:David 1539:David 1526:David 1518:David 1430:putti 1403:David 1358:Lucca 1321:Prato 1278:putti 1266:Faith 865:David 748:Doric 740:linen 664:David 587:David 408:Bardi 340:David 313:David 263:David 258:Siena 254:Padua 154:David 124:David 7227:Pisa 7161:Buti 6281:and 6114:The 5951:ISBN 5912:ISBN 5896:link 5892:link 5872:ISBN 5847:ISBN 5792:ISBN 5774:ISBN 5756:ISBN 5734:link 5730:link 5710:ISBN 5694:ISBN 5666:2022 5638:2016 5226:xxiv 4960:2020 4933:2020 4906:2020 4880:2020 4780:ISBN 4493:2020 3855:ISBN 3753:and 3741:NASA 3724:The 3420:1438 3249:1431 3047:Pisa 3010:1421 2890:and 2858:St. 2719:1406 2555:The 2412:and 2310:Life 2302:toga 2255:His 2073:and 2058:The 2003:and 1787:and 1760:The 1657:The 1491:Six 1438:imps 1270:Hope 1268:and 1247:Pisa 1160:and 983:The 861:The 801:, a 774:The 645:and 484:Life 432:Pisa 268:nude 77:Died 54:Born 7564:Art 6163:in 6141:in 5986:". 4922:"E" 2517:–33 1953:at 1934:of 1690:in 1499:in 1241:in 1106:). 945:Il 793:by 634:or 179:as 7661:: 7327:, 6877:: 6816:: 6543:c. 6514:c. 6493:c. 6478:c. 6463:c. 6448:c. 6433:c. 6399:c. 6384:c. 6369:c. 6338:c. 6289:c. 6260:c. 6237:c. 6224:c. 6050:, 5957:, 5934:, 5918:, 5888:}} 5884:{{ 5832:, 5828:, 5814:, 5786:, 5768:, 5726:}} 5722:{{ 5655:. 5627:. 5240:; 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