statues of Jeremiah, Abraham, and St. John the
Baptist offer no difficulties of nomenclature, but the Zuccone and the
Habbakuk are so called on hypothetical grounds. The Zuccone has been
called by this familiar nickname from time immemorial: bald-head or
pumpkin--such is the meaning of the word, and nobody has hitherto
given a reasoned argument to identify this singular figure with any
particular prophet. As early as 1415 Donatello received payment for
some of this work, and the latest record on the subject is dated 1435.
We may therefore expect to find some variety in idea and considerable
development in technique during these twenty years. Donatello was not
altogether single-handed. It is certain that by the time these
numerous works were being executed he was assisted by scholars, and
the Abraham was actually made in collaboration with Giovanni di
Bartolo, surnamed Il Rosso. It is not easy to discriminate between the
respective shares of the partners. Giovanni was one of those men whose
style varied with the dominating influence of the moment. At Verona he
almost ceased to be Florentine: at Tolentino he was himself; working
for the Campanile he was subject to the power of Donatello. The
Prophet Obadiah, which corresponds in position to the St. John Baptist
of Donatello on the western face of the tower, shows Rosso to have
been a correct and painstaking sculptor, with notions much in advance
of Ciuffagni's; noticeable also for a refinement in the treatment of
hands, in which respect many of his rivals lagged far behind. Judging
from the inscription at Verona, Rosso was appreciated by others--or by
himself:[13] he is, in fact, an artist of merit, rarely falling below
a respectable average in spite of the frequency with which he changed
his style.

[Footnote 13: On the Brenzoni tomb in the Church of San Fermo: "Quem
genuit Russi Florentia Tusca Johanis: istud sculpsit opus ingeniosa
manus."]

* * * * *

[Sidenote: St. John the Baptist.]

Rosso does not compare favourably with Donatello. Obadiah is less
attractive than St. John the Baptist, its _pendant_. The test is
admittedly severe, for the St. John is a figure remarkable alike in
conception and for its technical skill. Were it not for the scroll
bearing the "Ecce Agnus Dei," we should not suggest St. John as the
subject. Donatello made many Baptists--boys, striplings and men young
and mature: but in this case only have we somethin