Donatello . Fig. lo. St. George. Florence. Museo Nazionale (Bargello).Formerly at Or San Michele. (To pages 14 and 20.) i6. Fig. II. Head of the Marble David. Cf. Fig. 6.(To page 23.) makeshift. The folds touch the groundin broad masses; the figures certainlyappear firm in the static sense, butthey do not stand like living at the very end of the trecento,when Andrea Pisanos reliefs had al-ready adorned the Florence Baptisteryfor a generation, the Gothic folds ofthe statues flow over the body socompletely that its chief structuralforms do not tell. It is true, whenDonatello commence
Donatello . Fig. lo. St. George. Florence. Museo Nazionale (Bargello).Formerly at Or San Michele. (To pages 14 and 20.) i6. Fig. II. Head of the Marble David. Cf. Fig. 6.(To page 23.) makeshift. The folds touch the groundin broad masses; the figures certainlyappear firm in the static sense, butthey do not stand like living at the very end of the trecento,when Andrea Pisanos reliefs had al-ready adorned the Florence Baptisteryfor a generation, the Gothic folds ofthe statues flow over the body socompletely that its chief structuralforms do not tell. It is true, whenDonatello commenced to work, Floren-tine sculpture had already embarkedin a new direction. This direction was pointed outby the antique, and its first decidedfollower was Nanni di Banco. His four statues in the niche of the stone-cutters and carpenters at Or San Michele have the deportment of, andstand Uke, good ancient Roman — draped figures. But only just likedraped figures! Drapery is as yet more important than the body. Vasari relates, that these statues of saints by Nanni would not fit intotheir niche, and that they had to be cu
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