vering from his astonishment, remained still gazing in amazement and
like one out of his wits when Filippo arrived, and inquired, laughing,
'What hast thou been about, Donato? and what dost thou mean us to have
for dinner, since thou hast overturned everything?' 'I, for my part,'
replied Donato, 'have had my share of dinner for to-day; if thou must
needs have thine, take it. But enough said: to thee it has been given to
represent Christ; to me, boors only.'" This crucifix now adorns the
altar of the chapel of the Gondi.

DONATELLO.

This old Florentine sculptor was born in 1383. He was the first of the
moderns who forsook the stiff and gothic manner, and endeavored to
restore to sculpture the grace and beauty of the antique. He executed a
multitude of works in wood, marble and bronze, consisting of images,
statues, busts, basso-relievos, monuments, equestrian statues, etc.
which gained him great reputation, and some of which are much esteemed
at the present day. He was much patronized by Cosmo de' Medici, and his
son Pietro.

Among Donatello's principal works, are three statues, each three braccia
and a half high, (Vasari erroneously says four, and each five braccia
high), for the facade of the church of Santa Maria del Fiore, which
faces the Campanile. They represent St. John; David, called Lo Zuccone
(so called, because bald-headed); and Solomon, or as some say, the
prophet Jeremiah. The Zuccone is considered the most extraordinary and
the most beautiful work ever produced by Donatello, who, while working
on it, was so delighted with his success, that he frequently exclaimed,
"Speak then! why wilt thou not speak?" Whenever he wished to affirm a
thing in a manner that should preclude all doubt, he would say, "By the
faith I place in my Zuccone."

DONATELLO AND THE MERCHANT.

A rich Genoese merchant commissioned Donatello to execute his bust in
bronze, of life size. When the work was completed, it was pronounced a
capital performance, and Cosmo de' Medici, who was the friend of both
parties, caused it to be placed in the upper court of the palace,
between the battlements which overlook the street, that it might be seen
by the citizens. When the merchant, unacquainted with the value of such
works, came to pay for it, the price demanded appeared to him so
exorbitant that he refused to take it, whereupon the mutter was referred
to Cosmo. When the latter sought to settle the difference, he found the
of