[Footnote 64:  Domopera archives, 12, viii., 1412.]

[Footnote 65:  Ibid., 31, xii., 1407.]

[Footnote 66:  Padua, 3, iv., 1443.]

[Footnote 67:  When working at Pisa in 1427.  See Centofanti, p. 4.]

[Footnote 68:  Commission for bronze Baptist for Ancona, 1422.]

[Footnote 69:  Contract in Orvieto archives, 10, ii., 1423.]

[Footnote 70:  Domopera, 2, ix., 1429.]

[Footnote 71:  Ibid. 18, iii., 1426.]

[Footnote 72:  “Due Trattati,” ch. xii.]

[Footnote 73:  Pomponius Gauricus, “De Sculptura,” 1504, p. b, iii.]

[Footnote 74:  April 1434.]

[Footnote 75:  See American Journal of Arch., June 1900.]

[Footnote 76:  The so-called St. George in the Royal Library at Windsor has been determined by Mr. R. Holmes to be Perugino’s study for the St. Michael in the National Gallery triptych.  In the Uffizzi several pen-and-ink drawings are attributed to Donatello.  The four eagles, the group of three peasants, the two figures seen from behind (Frame 5, No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript studies in which no specific sign of Donatello appears.  The five winged Putti (Frame 7, No. 40 f.) and the two studies of the Madonna (Frame 7, No. 38 f.) are more Donatellesque, but they show the niggling touch of some draughtsman who tried to make a sketch by mere indications with his pen.  There is also a study in brown wash of the Baptistery Magdalen:  probably made from, and not for, the statue.  The Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle Collections) of the three Maries at the Tomb, or perhaps a fragment of a Crucifixion, with a fourth figure, cowled like a monk.  It is a gaunt composition, made with very strong lines.  It may be noted that the eyes are roughly suggested by circles, a mannerism which recurs in several drawings ascribed to Donatello.  This was also a trick of Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.).  In the British Museum there is an Apostle holding a book (No. 1860, 6. 13. 31), with a Donatellesque hand and forearm; also a Lamentation over the dead Christ (No. 1862, 7. 2. 189).  Both are interesting drawings, but the positive evidence of Donatello’s authorship is nil.  Mr. Gathorne Hardy’s drawing, which has been ascribed to Donatello, is really by Mantegna, a capital study for one of the frescoes in the Eremitani.]

[Footnote 77:  Uffizzi, Frame 6, No. 6347 f.]

[Footnote 78:  See Life by J.T.  Smith, 1828.]

[Footnote 79:  Victoria and Albert Museum, No. 7619, 1861.  This sketch, which appears to have been made for the Forzori family, has been mistaken for a study for the San Lorenzo pulpit.]

[Illustration:  Alinari

NICHE OF OR SAN MICHELE

THE GROUP BY VERROCCHIO]