The Martelli figure, and a most important boy’s bust belonging to Frau Hainauer in Berlin, are now usually ascribed to Rossellino.  But his St. John in the Bargello, where all the features are softened down, and his authenticated work in San Miniato and elsewhere, make the attribution open to question.  The St. John at Faenza is also denied to be by Donatello; one of the critics who is quite certain on the point believes the bust to be made of wood!  These problems cannot be settled by spending ten lire on photographs.  The bust at Faenza,[156] though a faithful portrait, is one of the most romantic specimens of childhood depicted by Donatello.  Admirably modelled, and with a surface like ivory, it gives the intimate characteristics of the model.  Nothing has been embellished or suppressed, if we may judge from the absolute sequence and correspondence of all the features.  The flat head, the projecting mouth, and the much-curved nose, are sure signs of accurate and painstaking observation; they combine to give it a personal note which adds much to its abstract merits.  The St. John in the Louvre[157] is also a portrait, but of an older boy, in whom the first signs of maturity are faintly indicated:  lines on the forehead, a stronger neck, and a harder accentuation of nose and mouth.  But he is still a boy, though he will soon go forth into the wilderness.  By the side of the Faenza Giovannino he would appear rough; beside the Vienna and Dreyfus statuettes he would be harsh and unsympathetic.  He has no smiling countenance, no fascinating twinkle of the eye:  the type has not been generalised as in Desiderio’s work, and it therefore lacks those qualities, the very absence of which makes it most Donatellesque.  The fundamental distinction between Donatello and the later masters can be emphasised by comparing this bust with another group of terra-cotta heads, which are analogous, although the boy in them is older.  One in the Berlin Gallery[158] has been painted, and no final judgment can be passed until the more recent accretions of oil-colour have been removed.  But the whole conception is weakly and vapid.  The brown eyes, the nicely rouged cheeks, the mincing look, and the affectation of the pose make a genteel page-boy of him, and all suggest a later imitation—­about 1470 perhaps—­and contemporary with the somewhat analogous though better rendering in the Louvre.[159] The version belonging to M. Dreyfus differs in certain details from the Berlin bust, and it has been fortunate in escaping careless painting; it has more vigour and virility.  One remark may be made about the Faenza, Grosvenor House, Martelli, Hainauer and Louvre busts:  they all show a peculiarity in the treatment of the hair.  It is bunched together and drawn back from behind the ears, and is gathered on the nape of the neck, down which it seems to curl.  This is precisely the treatment observed in the Mandorla relief, the Martelli David, the young Gattamelata, and the Amorino in the Bargello:  in a lesser degree it is observable in the Isaac and the Siena Virtues.  The point is not one upon which stress could properly be laid, but it is a further point of contact between Donatello’s accepted work and some few out of the numerous boys’ busts which he must inevitably have made.