artist, our
admiration is commanded by the craftsman.

[Footnote 105: Wreaths and _putti_ form its decoration, and though
Donatellesque, they are not by Donatello. This was pointed out as
early as 1819. See "Monumenti Sepolcrali della Toscana," p. 28.]

[Footnote 106: Bocchi, 354.]

[Footnote 107: Bull., "Cum primum," sec. 6, "_et ut in ecclesiis nihil
indecens relinquatur, iidem provideant, ut capsae omnes, et deposita,
seu alia cadaverum, conditoria super terram existentia omnino
amoveantur, pro ut alias statutum fuit, et defunctorum corpora in
tumbis profundis, infra terram collocentur_." Bullarium, 1566, vol.
iv., part ii., p. 285. For the whole question of the evolution of
these tombs, see Dr. von Lichtenberg's valuable book, "Das Portraet an
Grabdenkmalen," Strassburg, 1902.]

[Footnote 108: See "Archivio Storico dell' Arte," 1888, p. 24, &c.]

[Footnote 109: In Santo Stefano, Cortile di Pilato.]

[Footnote 110: "Misc. Storica Senese," 1893, p. 30.]

[Footnote 111: See p. 171.]

[Footnote 112: From the Duchess of Malfi, quoted in Symonds' "Fine
Arts," p. 114.]

* * * * *

[Sidenote: The Second Visit to Rome.]

During the year 1433, when Florence enjoyed the luxury of driving
Cosimo de' Medici into exile, Donatello went to Rome in order to
advise Simone Ghini about the tomb of Pope Martin V.--_temporum suorum
filicitas_, as the epitaph says.[113] This visit to Rome, which is not
contested, like the visit thirty years earlier, did not last long, and
certainly did not divert Donatello from the line he had struck out. At
this moment the native art of Rome was colourless. A generation later
it became classical, and then lapsed into decadence. The number of
influences at work was far smaller than would at first be imagined. It
is generally assumed that Rome was the home of classical sculpture.
But early in the fifteenth century Rome must have presented a scene of
desolation. The city had long been a quarry. Under Vespasian the
Senate had to pass a decree against the demolition of buildings for
the purpose of getting the stone.[114] Rome was plundered by her
emperors. She was looted by Alaric, Genseric, Wittig and Totila in
days when much of her art remained _in situ_. She was plundered by her
Popes. Statues were used as missiles; her marble was exported all over
the world--to the Cathedrals of Orvieto and Pisa, even to the Abbey
Church of Westminster. Suger, trying to get ma