y. Donatello's version is much more pathetic, as the
little Christ raises a tiny hand in benediction. The Virgin herself is
of unequalled solemnity, while her young and gracious face, exquisite
in expression and contour, is full of queenly beauty. But there is
still this atmosphere of mystery, an enigmatic aloofness in spite of
the warm human sentiment. The Sphinx's faces, with all their
traditions of secrecy, contribute their share to the cryptic
environment. Donatello uses them as the supports of the throne on
which the Madonna is seated; behind it are Adam and Eve in relief: in
front she herself shows the New Adam to the multitude, on whom he
confers his blessing. St. Francis of Padua [Transcriber's Note: Should
be "Assisi."] stands on the right of the Madonna, as founder of the
Order, and taking precedence of St. Anthony, to whom the church is
dedicated. He holds the crucifix and the book of rules. He is draped
in the ordinary Franciscan habit, which falls round his feet, giving a
stiffness to the figure as seen in profile, and making him appear
rather short when seen from the front. The workmanship is good, the
hands, with lightly shown stigmata, being excellent; but the lack of
distinction in the figure makes one look more closely at the head,
which is modelled with great power and freedom, showing that Donatello
still possessed the vigour and penetration for which the Campanile
prophets are notable. The head is full of character; not perhaps what
one would expect from the apostle of self-abnegation: but it is
determined, strong in the mouth and broad chin. It was, of course,
only meant to be seen a few feet from the ground, and the lines do
not compare in depth with the Habbakuk or the Zuccone; but there is
none the less an analogy in the manner by which Donatello calls in the
assistance of light and shade to add tone and finish to the modelling.
St. Anthony was a deservedly popular saint in Padua, where he preached
and denounced the local tyrant; and he may be accounted the greatest
man of Portuguese birth. But Donatello does not seem to have found the
subject very inspiring. He has taken his idea from rather an ordinary
friar such as he or we might see any day. It is a good homely face,
neither worldly nor spiritual, and only redeemed from the commonplace
by technical ability. St. Daniel is more interesting; the young deacon
is extremely well posed, the plain and massive features being drawn
with a firm and conf