of
importance for their Cathedral, and among these the Font takes a high
place. It was entrusted to Jacopo della Quercia, who had the active
assistance of Donatello and Ghiberti, as well as that of the Turini
and Neroccio, townsmen of his own. Donatello was thus brought under
new influences. He made a relief, a _sportello_ or little door, two
statuettes, and some children, all in bronze, being helped in the
casting by Michelozzo. Jacopo, who was about ten years older than
Donatello, had been a competitor for the Baptistery gates. He was a
man of immense power, in some ways greater than Donatello; never
failing to treat his work on broad and massive lines, and one of the
few sculptors whose work can survive mutilation. The fragments of the
Fonte Gaya need no reconstruction or repair to tell their meaning;
their statuesque virtues, though sadly mangled, proclaim the
unmistakable touch of genius. But Donatello's personality was not
affected by the Sienese artists. Jacopo, it is true, was constantly
absent, being busily engaged at Bologna, to the acute annoyance of the
Sienese, who ordered him to return forthwith. Jacopo said he would die
rather than disobey, "_potius eligeret mori quam non obedire patriae
suae_"; but the political troubles at the northern town prevented his
prompt return. However, after being fined he got home, was reconciled
to the Chapter, and ultimately received high honours from the city.
His font is an interesting example of transition; the base is much
more Gothic than the upper part. The base or font proper is a large
hexagonal bason decorated with six bronze reliefs and a bronze
statuette between each--Faith, Hope, Charity, Justice, Prudence, and
Strength. The reliefs are scenes from the life of the Baptist. From
the centre of the font rises the tall Renaissance tabernacle with five
niches, in which Jacopo placed marble statues of David and the four
major prophets, one of which suggested the San Petronio of Michael
Angelo. A statue of the Baptist surmounts the entire font. In spite of
the number of people who co-operated with Jacopo, the whole
composition is harmonious. Donatello made the gilded statuettes of
Faith and Hope. The former, looking downwards, has something of
Sienese severity. Hope is with upturned countenance, joining her hands
in prayer; charming alike in her gesture and pose. Two instalments for
these figures are recorded in 1428. The authorities had been lax in
paying for the work,