Donatello . work; and soon after came an invasion from the Northof the clearly cut character-profiles of the transalpine Gothic. They gainedthe favour of the Florentines for German masters of the type of Pierodi Giovanni Tedesco, or perhaps of that Co-logne master who became a hermit in theFlorentine hills, after having been an honouredsculptor and goldsmith, but whose advice andexample nevertheless exercised considerableinfluence upon his former neighter Ghiberti, nor Nanni di Banco,were influenced by this new physiognomic lacked the talent for pictorial individua
Donatello . work; and soon after came an invasion from the Northof the clearly cut character-profiles of the transalpine Gothic. They gainedthe favour of the Florentines for German masters of the type of Pierodi Giovanni Tedesco, or perhaps of that Co-logne master who became a hermit in theFlorentine hills, after having been an honouredsculptor and goldsmith, but whose advice andexample nevertheless exercised considerableinfluence upon his former neighter Ghiberti, nor Nanni di Banco,were influenced by this new physiognomic lacked the talent for pictorial individua-lising. They have left us no portrait-busts. Donatello, on the other hand, was a bornportraitist. This is already proclaimed by theheads of his first series of statues — fromthe prophets of the cathedral door to the c. /- • >i 1 • ,1 Fie. 34. Head of the so-called St. George; but m these — and even m the ^ Poggio. Cf. Fig. 29. head of Goliath at Davids feet — the art of (To page 44.). 40 portraiture is balanced by an ideal of beauty derived from the antique, anideal which he did not altogether deny even at the time of the Campanilestatues. To what extent he was under the spell of antique physiognomies,is proved by the fact, that he chose them with partiality for the single heads
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