age of the individual
whom it is supposed to portray. A second example of the confusion
caused by the over-ready acceptance of these nomenclatures is afforded
by the remarkable figure which stands in the north aisle of the
Cathedral, opposite the Daniel. This statue has been called a portrait
of Poggio Bracciolini, the secretary of many Popes. Poggio was born in
1380 and passed some time in Florence during the year 1456. It has,
therefore, been assumed[8] that the statue was made at this time or
shortly afterwards, either as Donatello's tribute of friendship to
Poggio or as an order from the Cathedral authorities in his
commemoration. This theory is wholly untenable. We have no record of
any such work in 1456. The statue does not portray a man seventy-six
years old. Distinguished as Poggio was, his nature did not endear him
greatly to the Florentine churchmen; and, finally, the style of the
sculpture predicates its execution between 1420 and 1430. We can, of
course, admit that Poggio's features may have been recognised in the
statue, and that it soon came to be considered his portrait. In any
case, however, we are dealing with a portrait-statue. The keen and
almost cynical face, with its deep and powerful lines, is certainly no
creation of the fancy, but the study of somebody whom Donatello knew.
It is true there are contradictions in the physiognomy: sarcasm and
benevolence alternate, as the dominating expression of the man's
character. The whole face is marked by the refinement of one from whom
precision and niceness of judgment would be expected. It is not
altogether what Poggio's achievements would lead one to expect;
neither is it of a type which, as has been suggested, would allow us
to call it the missing Joshua. The idea that Job may be the subject is
too ingenious to receive more than a passing reference.[9]

[Footnote 8: Semper, I., p. 132.]

[Footnote 9: Schmarsow, p. 10.]

[Illustration: _Alinari_

POGGIO

CATHEDRAL, FLORENCE]

There is one detail in the statue of Poggio which raises a problem
familiar to students of fifteenth-century art, especially frequent in
paintings of the Madonna, namely, the cryptic lettering to be found on
the borders of garments. In the case of Poggio, the hem of the tunic
just below the throat is incised with deep and clear cyphers which
cannot be read as a name or initials. Many cases could be quoted to
illustrate the practice of giving only the first letters of words
f