wo at either extremity and the other pair lying along the
curved space in the centre;[54] the panelled background and the throne
are covered with arabesques. But this intricate wealth of decoration
does not distract attention from the main figures. The Virgin has just
risen from the chair, part of her dress still resting on the seat. Her
face and feet turn in different directions, thus giving a dualism to
the movement, an impression of surprise which is in itself a _tour de
force_. But there is nothing bizarre or far-fetched, and the general
idea one receives is that we have a momentary vision of the scene: we
intercept the message which is well rendered by the pose of the
angel, while its reception is acknowledged by the startled gesture of
the Virgin. "_E stupendo l'artifizio._"[55] The scheme is what one
would expect from Luca della Robbia. Nothing of the kind reappears in
Donatello's work, and the attainment of beauty as such is also beyond
the sphere of his usual ambition. Indeed, so widely does the
Annunciation differ from our notions about the artist, that it has
been recently suggested that Donatello was assisted in the work: while
some people doubt the attribution altogether. The idea that Michelozzo
should have done some of the actual carving may be well or ill
founded; in any case, no tangible argument has been advanced to
support the idea. Donatello's authorship is vouched for by Albertini,
who wrote long before Vasari, and whose notice about the works of art
in Florence is of great value.[56] But we have no standard of
comparison, and Donatello himself had to strike out a new line for his
new theme. The internal evidence in favour of Donatello must therefore
be sought in the accessories; and in architectural details which occur
elsewhere,[57] such as the big and somewhat incontinent hands, the
typical _putti_, and the rather heavy drapery. To this we may add the
authority of early tradition, the originality and strength of
treatment, and finally the practical impossibility of suggesting any
alternative sculptor.

[Footnote 47: Vasari, iii. 247.]

[Footnote 48: In the Capella Gondi, Santa Maria Novella.]

[Footnote 49: In San Giorgio Maggiore, Venice.]

[Footnote 50: Borghini, Donatello's earliest work. Semper, 1406.
Schmarsow, 1412. Bode, before the second journey to Rome in 1433.
Reymond, 1435.]

[Footnote 51: _E.g._, on the Or San Michele niche, round the Trinity.
Verrocchio also used it on his sket