this kind of vagary.  There is great merit in the plaintive and wistful ugliness of the Zuccone:  Here the ugliness is wanton, and therefore inexcusable.  The Crivelli tomb and the Baptist in San Giovanni Fiorentino have been already described.  There were other products of Donatello’s visit to Rome, but they are now lost.  Tradition still maintains that the wooden Baptist in S. Giovanni Laterano is his work.  But it cannot possibly be by him, though it may be a later copy of a fifteenth-century original.  Curiously enough, there is another Baptist in the same church which is Donatellesque in character and analogous in some respects to the St. John at Siena, namely, the large bronze statue signed by Valadier and dated 1772.  Valadier was a professional copyist, some of his work being in the Louvre.  Where he got the design for this Baptist we do not know; but it is certainly not typical of the late eighteenth century.  Titi mentions a head in Santa Maria Sopra Minerva, and a medallion portrait of Canon Morosini in Santa Maria Maggiore.[133] Neither of them can be found.

[Footnote 130:  See Schmarsow, p. 32.]

[Footnote 131:  See “Arch.  Storico dell’ Arte,” 1888, p. 24.]

[Footnote 132:  Victoria and Albert Museum, No. 7629, 1861.  Bocchi says:  “Un quadro di marmo di mano di Donatello di basso relievo:  dove e effigiato quando da le chiavi Cristo a S. Pietro.  Estimata molto da gli artefici questa opera:  la quale per invenzione e rara, e per disegno maravigliosa.  Molto e commendata la figura di Cristo, e la prontezza che si scorge nel S. Pietro.  E parimente la Madonna posta in ginocchione, la quale in atto affetuoso ha sembiante mirabile e divoto,” p. 372.]

[Footnote 133:  “Ammaestramento Utile,” 1686, p. 141. “Una testa nel deposito a mano destra della Porta Maggiore, e scoltura di Donatello Fiorentino.” In Chapel of Paul V., Sta.  M. Maggiore:  “In terra in una lapide vi e di profilo la figura del Canonico Morosini, opera di Donatello famoso scultore e architetto.” Ibid. p. 241.]

* * * * *

[Sidenote:  The Medici Medallions.]

The Medici did not remain in exile long, and their return to Florence marks an epoch in the artistic as well as the political history of Tuscany.  From this moment the sway of the private collector and patron began.  Gradually the great churches and corporations ceased giving orders on the grand scale, for much of the needful decoration was by then completed.  By the middle of the century patronage was almost wholly vested in the magnates of commerce and politics:  if a chapel were painted or a memorial statue set up, in most cases the artist worked for the donor, and not for the church authorities.  The monumental type of sculpture became more rare, bric a brac more common.  Well-known men like Donatello received the old kind of commission to the end of their lives, while younger men, though