of the Madonna
(Frame 7, No. 38 f.) are more Donatellesque, but they show the
niggling touch of some draughtsman who tried to make a sketch by mere
indications with his pen. There is also a study in brown wash of the
Baptistery Magdalen: probably made from, and not for, the statue. The
Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle
Collections) of the three Maries at the Tomb, or perhaps a fragment of
a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt
composition, made with very strong lines. It may be noted that the
eyes are roughly suggested by circles, a mannerism which recurs in
several drawings ascribed to Donatello. This was also a trick of
Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.). In the
British Museum there is an Apostle holding a book (No. 1860, 6. 13.
31), with a Donatellesque hand and forearm; also a Lamentation over
the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings,
but the positive evidence of Donatello's authorship is _nil_. Mr.
Gathorne Hardy's drawing, which has been ascribed to Donatello, is
really by Mantegna, a capital study for one of the frescoes in the
Eremitani.]

[Footnote 77: Uffizzi, Frame 6, No. 6347 f.]

[Footnote 78: See Life by J.T. Smith, 1828.]

[Footnote 79: Victoria and Albert Museum, No. 7619, 1861. This sketch,
which appears to have been made for the Forzori family, has been
mistaken for a study for the San Lorenzo pulpit.]

[Illustration: _Alinari_

NICHE OF OR SAN MICHELE

THE GROUP BY VERROCCHIO]

Sculpture relies upon the contour, architecture upon the line. The
distinction is vital, and were it not for the number and importance of
the exceptions, from Michael Angelo down to Alfred Stevens, one would
think that the sculptor-architect would be an anomaly. In describing
the pursuits of Donatello and Brunellesco during their first visit to
Rome, Manetti says that the former was engrossed by his plastic
researches, "_senza mai aprire gli occhi alla architettura_." It is
difficult to believe that Donatello had no eyes for architecture.
There are several reasons to show that later on he gave some attention
to its study. Like the Roman Tabernacle, the Niche on Or San
Michele[80] is without any Gothic details. Albertini mentions
Donatello as its sole author, but it is probable that Michelozzo, who
helped on the statue of St. Louis, was also associated with its niche.
It is a notable work, designed withou