and the pectoral bones are rendered with an exactitude which leads one to suppose Donatello reproduced all the peculiarities of his model.  It has been said that Michelozzo helped Donatello on the ground that certain details reappear on the Aragazzi monument.  The argument is speculative, and would perhaps gain by being inverted,—­by pointing out that when making the Aragazzi figures, Michelozzo, the lesser man, was influenced by Donatello, the greater.

[Footnote 62:  Bocchi, 23.  Like the David, it used to live out of doors, until in 1755 Nicolaus Martelli “in aedes suas transtulit.”  Its base dates from 1794.]

[Footnote 63:  It was acquired for nine zechins in 1784.  Madame Andre has a version in stucco, on rather a larger scale.  A marble version from the Strawberry Hill Collection now belongs to Sir Charles Dilke, M.P.]

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[Illustration:  CLAY SKETCH OF CRUCIFIXION AND FLAGELLATION

LONDON]

[Sidenote:  Donatello as Architect and Painter.]

Fully as Donatello realised the unity of the arts, we cannot claim him as a universal genius, like Leonardo or Michael Angelo, who combined the art of literature with plastic, pictorial and architectural distinction.  But at the same time Donatello did not confine himself to sculpture.  He was a member of the Guild of St. Luke:  he designed a stained-glass window for the Cathedral:  his opinion on building the Cupola was constantly invited, and he made a number of marble works, such as niches, fountains, galleries and tombs, into which the pursuit of architecture and construction was bound to enter.  Moreover, his backgrounds were usually suggested by architectural motives.  Donatello joined the painters’ guild of St. Luke in 1412, and in a document of this year he is called Pictor.[64] There is a great variety in the names and qualifications given to artists during the fifteenth century.  In the first edition of the Lives, Vasari calls Ghiberti a painter.  Pisano, the medallist, signed himself Pictor. Lastrajuolo, or stone-fitter, is applied to Nanni di Banco.[65] Giovanni Nani was called Tagliapietra,[66] Donatello is also called Marmoraio, picchiapietre,[67] and woodcarver.[68] In the commission from the Orvieto Cathedral for a bronze Baptist he is comprehensively described as “intagliatorem figurarum, magistrum lapidum atque intagliatorem figurarum in ligno et eximium magistrum omnium trajectorum."[69] Finally, like Ciuffagni,[70] he is called aurifex, goldsmith.[71] Cellini mentions Donatello’s success in painting,[72] and Gauricus, who wrote early in the sixteenth century, says that the favourite maxim inculcated by Donatello to his pupils was “designate”—­“Draw:  that is the whole foundation of sculpture."[73] The only pictorial work that has survived is the great stained-glass Coronation of the Virgin in the Duomo.  Ghiberti submitted a competitive cartoon and the Domopera