eller, rather than a draughtsman. Leonardo was just the reverse;
Michael Angelo was both, but with him sculpture was _the_ art.
Donatello had small sense of surface or silhouette, and we would not
expect him to commit his ideas to paper, just as Nollekens,[78] who
drew so badly that he finally gave up drawing, and limited himself to
modelling instead--turning the clay round and round and observing it
from different aspects, thus employing a tactile in place of a
pictorial medium. Canova also trusted chiefly to the plastic sense to
create the form. But Donatello must nevertheless have used pen and ink
to sketch the tombs, the galleries, the Roman tabernacle, and similar
works. It is unfortunate that none of his studies can be identified.
There is, however, one genuine sketch by Donatello, but it is a sketch
in clay. The London Panel[79] was made late in life, when Donatello
left a considerable share to his assistants. It is therefore a
valuable document, showing Donatello's system as regards his own
preliminary studies and the amount of finishing he would leave to
pupils. We see his astonishing plastic facility, and the ease with
which he could improvise by a few curves, depressions and prominences
so complex a theme as the Flagellation, or Christ on the Cross. It
is a marvel of dexterity.

[Footnote 64: Domopera archives, 12, viii., 1412.]

[Footnote 65: _Ibid._, 31, xii., 1407.]

[Footnote 66: Padua, 3, iv., 1443.]

[Footnote 67: When working at Pisa in 1427. See Centofanti, p. 4.]

[Footnote 68: Commission for bronze Baptist for Ancona, 1422.]

[Footnote 69: Contract in Orvieto archives, 10, ii., 1423.]

[Footnote 70: Domopera, 2, ix., 1429.]

[Footnote 71: _Ibid._ 18, iii., 1426.]

[Footnote 72: "Due Trattati," ch. xii.]

[Footnote 73: Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.]

[Footnote 74: April 1434.]

[Footnote 75: See _American Journal of Arch._, June 1900.]

[Footnote 76: The so-called St. George in the Royal Library at Windsor
has been determined by Mr. R. Holmes to be Perugino's study for the
St. Michael in the National Gallery triptych. In the Uffizzi several
pen-and-ink drawings are attributed to Donatello. The four eagles, the
group of three peasants, the two figures seen from behind (Frame 5,
No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript
studies in which no specific sign of Donatello appears. The five
winged _Putti_ (Frame 7, No. 40 f.) and the two studies