DOI Page / Citation link:
https://doi.org/10.11588/diglit.57409#0350
334 LIVES OF THE ARTISTS.
When Nanni had departed, Donato set to work with all his
disciples and workmen : some of the statues he cut off at the
shoulder, others at the arm, and arranged them in such a
manner, that standing thus together, each made place for his
neighbour, one having his hand brought forward and laid on
the shoulder of another. All being then firmly fixed in such
attitudes as were suggested by the taste of Donato, his judi-
cious care was found to have united them in a manner by
which the error of Nanni was entirely concealed, insomuch
that when the niche was completed, the group presented the
most obvious expression of concord and brotherhood ; nor
could any one not acquainted with the circumstance perceive
any evidence of the mistake. When Nanni found, on his
return, that Donato had corrected all and so effectually reme-
died the blunder he had committed, he gave him hearty
thanks, and right willingly bestowed the promised supper on
him and his men. Under the feet of these four saints, and
among the decorations of the tabernacle, is a representation
in marble and mezzo-rilievo, also by Nanni, of a sculptor
working with great animation at the statue of a child ; and
another master building a wall, with two assistants. All these
little figures are full of life, and earnestly engaged in their
different occupations.
Another work by the same artist is in the fagade of Santa
Maria del Fiore, and on the left as you enter the church by
the central door. This is the figure of an evangelist, and is
a very good statue in the manner of that time.*
We find it further asserted that the San Lo, constructed
for the Guild of Farriers, and near the oratory of Or San
Michele, above-named, is also a work of Nanni; as, like-
wise we are told, is the marble tabernacle, in the basement
of which is a representation of St. Lo, the farrier, who is
shoeing a furious horse. All this is so well done, that the
master obtained much reputation from it, and he would doubt-
less have both merited and acquired still higher credit, had
he not died early, as was the case.t Be this as it may, the
* This is one of the four Evangelists—grand seated figures, which are
placed in the four chapels beside the choir of the Florentine Cathedral.
—Ed. Flor. 1846-9.
f Vasari appears to doubt whether Santo Lo (Sant’ Alo, patron saint
of the farriers and goldsmiths) be a work of Nanni’s ; and his doubts
receive confirmation from the circumstance that this work is much more
When Nanni had departed, Donato set to work with all his
disciples and workmen : some of the statues he cut off at the
shoulder, others at the arm, and arranged them in such a
manner, that standing thus together, each made place for his
neighbour, one having his hand brought forward and laid on
the shoulder of another. All being then firmly fixed in such
attitudes as were suggested by the taste of Donato, his judi-
cious care was found to have united them in a manner by
which the error of Nanni was entirely concealed, insomuch
that when the niche was completed, the group presented the
most obvious expression of concord and brotherhood ; nor
could any one not acquainted with the circumstance perceive
any evidence of the mistake. When Nanni found, on his
return, that Donato had corrected all and so effectually reme-
died the blunder he had committed, he gave him hearty
thanks, and right willingly bestowed the promised supper on
him and his men. Under the feet of these four saints, and
among the decorations of the tabernacle, is a representation
in marble and mezzo-rilievo, also by Nanni, of a sculptor
working with great animation at the statue of a child ; and
another master building a wall, with two assistants. All these
little figures are full of life, and earnestly engaged in their
different occupations.
Another work by the same artist is in the fagade of Santa
Maria del Fiore, and on the left as you enter the church by
the central door. This is the figure of an evangelist, and is
a very good statue in the manner of that time.*
We find it further asserted that the San Lo, constructed
for the Guild of Farriers, and near the oratory of Or San
Michele, above-named, is also a work of Nanni; as, like-
wise we are told, is the marble tabernacle, in the basement
of which is a representation of St. Lo, the farrier, who is
shoeing a furious horse. All this is so well done, that the
master obtained much reputation from it, and he would doubt-
less have both merited and acquired still higher credit, had
he not died early, as was the case.t Be this as it may, the
* This is one of the four Evangelists—grand seated figures, which are
placed in the four chapels beside the choir of the Florentine Cathedral.
—Ed. Flor. 1846-9.
f Vasari appears to doubt whether Santo Lo (Sant’ Alo, patron saint
of the farriers and goldsmiths) be a work of Nanni’s ; and his doubts
receive confirmation from the circumstance that this work is much more