cular
system, the prominent spinal cord, and the pectoral bones are rendered
with an exactitude which leads one to suppose Donatello reproduced all
the peculiarities of his model. It has been said that Michelozzo
helped Donatello on the ground that certain details reappear on the
Aragazzi monument. The argument is speculative, and would perhaps gain
by being inverted,--by pointing out that when making the Aragazzi
figures, Michelozzo, the lesser man, was influenced by Donatello, the
greater.

[Footnote 62: Bocchi, 23. Like the David, it used to live out of
doors, until in 1755 Nicolaus Martelli "in aedes suas transtulit." Its
base dates from 1794.]

[Footnote 63: It was acquired for nine zechins in 1784. Madame Andre
has a version in stucco, on rather a larger scale. A marble version
from the Strawberry Hill Collection now belongs to Sir Charles Dilke,
M.P.]

* * * * *

[Illustration: CLAY SKETCH OF CRUCIFIXION AND FLAGELLATION

LONDON]

[Sidenote: Donatello as Architect and Painter.]

Fully as Donatello realised the unity of the arts, we cannot claim him
as a universal genius, like Leonardo or Michael Angelo, who combined
the art of literature with plastic, pictorial and architectural
distinction. But at the same time Donatello did not confine himself to
sculpture. He was a member of the Guild of St. Luke: he designed a
stained-glass window for the Cathedral: his opinion on building the
Cupola was constantly invited, and he made a number of marble works,
such as niches, fountains, galleries and tombs, into which the pursuit
of architecture and construction was bound to enter. Moreover, his
backgrounds were usually suggested by architectural motives. Donatello
joined the painters' guild of St. Luke in 1412, and in a document of
this year he is called _Pictor_.[64] There is a great variety in the
names and qualifications given to artists during the fifteenth
century. In the first edition of the Lives, Vasari calls Ghiberti a
painter. Pisano, the medallist, signed himself Pictor. _Lastrajuolo_,
or stone-fitter, is applied to Nanni di Banco.[65] Giovanni Nani was
called _Tagliapietra_,[66] Donatello is also called _Marmoraio_,
_picchiapietre_,[67] and woodcarver.[68] In the commission from the
Orvieto Cathedral for a bronze Baptist he is comprehensively described
as "_intagliatorem figurarum, magistrum lapidum atque intagliatorem
figurarum in ligno et eximium magistrum omnium traj