mouth, while the right
hand, which is outstretched in giving the blessing, is rendered with
infinite sentiment and grace. St. Louis, in short, deserves high
commendation, as, in spite of errors, it achieves something to which
Donatello seldom aspired; and it has the further interest of being his
earliest figure in bronze, a material in which some of his most
renowned works were executed. The whole question of Donatello's share
in the actual casting will be considered at a later stage. It will be
enough to say at this point that the St. Louis, which was probably
finished about 1425, was cast with the assistance of Michelozzo.

* * * * *

[Illustration: _Alinari_

ST. GEORGE

IN NICHE ON OR SAN MICHELE]

[Sidenote: St. George.]

The St. George is the most famous of Donatello's statues, and is
generally called his masterpiece. The marble original has now been
taken into the Museum, and a bronze cast replaces it at Or San
Michele. The cause of this transfer is understood to be a fear that
the statue would be ruined by exposure, although one would think that
this would apply still more to the exquisite relief, which remains _in
situ_, though unprotected by the niche. In the side-lighted Bargello,
the St. George is crowded into a shallow niche (with plenty of highly
correct detail) and is seen to the utmost disadvantage; but no
incongruity of surroundings, no false relations of light can destroy
the profound impression left by this statue, which was probably
completed about 1416, in Donatello's thirtieth year. Vasari was
enthusiastic in its praise. Bocchi wrote a whole book about it,[34] in
which we might expect to find valuable information; but the interest
of this ecstatic eulogy is limited. Bocchi gives no dates, facts or
authorities; nothing to which modern students can turn for accurate or
specific knowledge of Donatello. Cinelli says the St. George was held
equal to the rarest sculpture of Rome,[35] and well it might be. The
St. George was made for the Guild of Armourers; he is, of course,
wearing armour, and the armour fits him, clothes him. It is not the
clumsy inelastic stuff which must have prevented so many soldiers from
moving a limb or mounting a horse. In this case the lithe and muscular
frame is free and full of movement, quite unimpeded by the defensive
plates of steel. He stands upright, his legs rather apart, and the
shield in front of him, otherwise he is quite unar