The Renaissance

Ghiberti, and assisted Ghiberti in creating
the famous bronze doors of the Baptistry
of Florence. Donatello’s first known work
is a marble sculpture of the biblical figure
of David that was intended for display on
the exterior of the cathedral of Florence.
Impressed by the work, and seeing in it a
symbol of the entire city, the leaders of
the city ordered it to be placed in the front
of the Palazzo Vecchio, the seat of govern-
ment. His reputation secured by this work,
Donatello was given commissions to com-
plete a marble Saint Mark for the church
of Orsanmichele and statue of Saint John
for the cathedral. Both of these were large,
realistic works that broke with medieval
sculptural tradition, which elongated and
idealized the human face and figure. A
statue of Saint George completed in 1417
was raised over a smaller relief of Saint
George slaying the dragon, the first sculp-
ture to use perspective to create a realistic
illusion of space.

Donatello gave his figures lifelike and
vigorous poses. His sculpture surprised
and impressed viewers with its mastery of
small details, such as facial expression and
drapery, and the way it used and com-
manded the surrounding space. He
brought out the inner emotions and char-
acter of his subjects, subtly distorting fig-
ures for dramatic effect, and mastered sev-
eral different sculptural media, including
wood, bronze, and marble. His reputation
spread throughout Italy and he traveled
often at the invitation of wealthy patrons.
In the 1420s he completed a bronzeFeast
of St. Herodfor the Baptistery of Siena. In
this work he created a new sculptural tech-
nique,schiacciato, or shallow relief, which
creates an illusion of depth through dis-
tortion of the figures.

Donatello spent several years in Rome,
investigating ancient ruins with his friend

and mentor Filippo Brunelleschi. In 1443

Donatello moved to Padua, a city near

Venice, where he was commissioned to

raise an equestrian statue of Erasmo da

Narni, a famous condottiere (mercenary

soldier) known better by his nickname

Gattamelata. This was an imitation of a

well-known statue of the emperor Marcus

Aurelius. It was placed in a central square

of Padua and began a craze for equestrian

statues that continued throughout Europe

well after the time of the Renaissance. Also

in Padua he decorated the high altar of

the church of San Antonio with an im-

pressive series of reliefs representing the

life of Saint Anthony.

In 1432 Donatello created his most fa-

mous work, a bronze statue of David, the

first freestanding nude statue created since

the time of ancient Rome. The statue, a

symbol of Renaissance virtue triumphing

over the superstition and violence of the

past, was meant to stand independently

and be seen from all sides. Later in life he

continued experimenting in the form and

expression of his subjects. He completed a

dramatic series of bronze pulpits for the

church of San Lorenzo. For the Baptistery

of Florence he carved a striking portrait of

Mary Magdalene in wood that represents

her as thin, ugly, and a pathetic woman

lost in the wilderness. A group of figures

in bronze illustrates the biblical tale of Ju-

dith slaying Holofernes, a work originally

intended for a courtyard in the palace of

the Medici rulers.

SEEALSO: Florence; Ghiberti, Lorenzo;

sculpture

Donne, John ...................................

(1572–1631)

English poet, essayist, and Anglican priest,

Donne was born in London to a well-

Donne, John