ich did not affect Donatello when making the little
prophets for the Mandorla door. The head is commonplace and
inexpressive; the pose is dull, and the drapery with its crimped edges
ignores the right leg. There is, however, nothing blameworthy in the
statue, but, on the other hand, there is nothing showing promise or
deserving praise. Had it been made by one of the _macchinisti_ of the
time it would have lived in decent obscurity without provoking
comment. In fact the statue does not owe its appearance in critical
discussions to its own merits, but to the later achievement of the
sculptor. Thus only can one explain Bocchi's opinion that "living man
could not display truer deportment than we find in the St. Peter."[30]
One of the figures from the Cathedral facade now in the Louvre, an
apostle or doctor of the Church, shows whence Donatello derived his
prosy idea, though the St. Peter is treated in a less archaic manner.
The St. Mark is much more successful: there is conviction as well as
vigour and greater skill. Michael Angelo exclaimed that nobody could
disbelieve the Gospel when preached by a saint whose countenance is
honesty itself. The very drapery--_il prudente costume e
religioso_--[31] was held to contribute to Michael Angelo's praise.
The grave and kindly face, devout and holy,[32] together with a
certain homeliness of attitude, give the St. Mark a character which
would endear him to all. He would not inspire awe like the St. John or
indifference like St. Peter. He is a very simple, lovable person whose
rebuke would be gentle and whose counsel would be wise. In 1408 the
_Linaiuoli_, the guild of linen-weavers, gave their order to select
the marble, and in 1411 the commission was given to Donatello, having
been previously given to Niccolo d'Arezzo, who himself became one of
Donatello's guarantors. The work had to be finished within eighteen
months, and the heavy statue was to be placed in the niche at the
sculptor's own risk. The statement made by Vasari that Brunellesco
co-operated on the St. Mark is not borne out by the official
documents. It is interesting to note that the guild gave Donatello the
height of the figure, leaving him to select the corresponding
proportions. The statue was to be gilded and decorated.[33] A further
commission was given to two stone-masons for the niche, which was to
be copied from that of Ghiberti's St. Stephen. These niches have been
a good deal altered in recent times, and the s