tatues are in
consequence less suited to their environment than was formerly the
case. Judging from the plates in Lasinio's book, the accuracy of which
has not been contested, it appears that the niches of St. Eligius and
St. Mark have been made more shallow, while the crozier of the former
and the key in St. Peter's hand are not shown at all, and must be
modern restorations.

[Footnote 30: Cinelli ed., p. 66.]

[Footnote 31: Bocchi, 1765 ed., p. 128.]

[Footnote 32: _Spira il volto divozione e Santita_, Cinelli, p. 66.]

[Footnote 33: Gualandi, "Memorie," Series 4, p. 106.]

* * * * *

[Sidenote: St. Louis.]

The St. Louis is made of bronze. The reputation of this admirable
figure has been prejudiced by a ridiculous bit of gossip seriously
recorded by Vasari, to the effect that, having been reproached for
making a clumsy figure, Donatello replied that he had done so with set
purpose to mark the folly of the man who exchanged the crown for a
friar's habit. Vasari had to enliven his biographies by anecdotes, and
their authenticity was not always without reproach. In view of his
immense services to the history of art one will gladly forgive these
pleasantries; but it is deplorable when they are solemnly quoted as
infallible. One author says: "... _impossibile a guardare quel goffo e
disgraziato San Lodovico senza sentire una stretta al cuore_." This is
preposterous. The statue has faults, but they do not spring from
organic error. The Bishop is overweighted with his thick vestments,
and his mitre is rather too broad for the head; the left hand,
moreover, is big and Donatellesque. But the statue, now placed high
above the great door of Santa Croce, is seen under most unfavourable
conditions, and would look infinitely better in the low niche of Or
San Michele. Its proportions would then appear less stumpy, and we
would then be captivated by the beauty of the face. It has real
"beauty"; the hackneyed and misused term can only be properly applied
to Donatello's work in very rare cases, of which this is one. The face
itself is taken from some model, which could be idealised to suit a
definite conception, and in which the pure and symmetrical lines are
harmonised with admirable feeling. Every feature is made to
correspond, interrelated by some secret necessary to the art of
portraiture. The broad brow and the calm eyes looking upwards are in
relation with the delicately chiselled nose and