een close at hand, the statue (which it is understood will
shortly be cleaned) shows distinct merits. The modelling of the
extremities is good, and though it is clear that Donatello was never
quite willing to treat St. John as on a par with the other Saints, we
have a systematic and generic rendering of his idea. In some measure
painting was needed as a preservative for wood statues, otherwise it
is difficult to justify the covering of a fine material by paint which
cannot do justice to itself, while it must hide the refinements of the
carving. Donatello worked but little in wood. Crucifixes were commonly
made of it, but the material was one which could never receive _quella
carnosita_ and _morbidezza_[184] of marble or metal. The Greeks
limited their use of it to garden and woodland themes: the Egyptians
used it but little, because they had so few trees. In Donatello's time
it was popular, and came to be regarded as a distinct art. Thus the
Sienese wood-carvers were forbidden to work in stone,[185] but the
great masters like Donatello did not strictly adhere to the rules, and
did not refrain from invading the art of the woodcarver. There is a
large class of statues derived from the four just described. One of
these, attributed to Donatello, is the St. Jerome at Faenza, also made
of wood.[186] Chocolate-coloured paint has been ladled all over the
body. The beard is faint lavender, and the canvas loin-cloth is blue.
The pose and expression are mannered. It is usual to dismiss it in an
offhanded way as a bad and later work; but the modelling shows signs
of skill, and until the paint is removed it is useless to make
guesses. Two bronze statuettes of the Baptist[187] are distinctly
Donatellesque, and made about 1450, though it is impossible to assign
them with certainty to the master himself. Michelozzo's versions of
St. John at Montepulciano, on the Cathedral altar in Florence, and in
the Annunziata, show the influence of Donatello; but the Baptist is a
milder prophet, and no longer the hermit. In the Scalzi at Florence
there is a Baptist which is typical of many others of the same
character. The Magdalen was less copied than the St. John. The version
nearest Donatello himself is in London, a large grim bust;[188] in the
same collection is a relief of her apotheosis, and the Louvre
possesses a similar work.[189] Neither of the latter is by Donatello
himself, but they recall his influence.[190] The large Magdalen in
Santa Tr