1. 1443 – Donatello seems to have left Florence late in the year for Padua
Il Santo (Basilica of Sant’Antonio), Padua

3. Donatello,
High Altar of il Santo
(reconstruction)
, Bronze Basilica di Sant'Antonio,
Padua
1443 – Donatello seems to have left Florence late in the year

4. Possible reconstruction

5. Madonna and Child with SS Anthony
and Francis

6. Donatello,
Crucifix 1449 Bronze, 180 x 166 cm Basilica di Sant'Antonio, Padua
(originally intended for the altar in the center of the choir; presently incorporated into the high altar of il Santo)

9. Symbol of St. Matthew,
bronze

10. Symbol of St. John the
Evangelist,
bronze

11. Symbol of St. Mark,
bronze m

12. High altar of il Santo, view from behind

13. Lamentation
Stone with inlaid mosaic and glazed coloured strips
(relief from the back of high altar of il Santo)

14. St. Francis,
bronze

15. St. Francis, detail of crucifix

16. Daniel
Santa Giustina

17. St. Louis
St. Prosdocimus

18. Miracle of the New-born Child Bronze, 57 x 123 cm

19. Miracle of the newborn child,
detail

20. Miracle of the Repentant Son Bronze, 57 x 123 cm

22. Miracle of the Repentant Son 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

23. Pietro Perugino (Pietro di Cristoforo Vanucci), born died s: Apollo and Daphnis (Paris, Louvre), which may have been made for Lorenzo the Magnificent.
Miracle of the Ass Bronze

24. Miracle of the Miser’s Heart 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

25. Miracle of the Miser’s Heart 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

26. Musician angels,
Bronze panels
(presently flanking the central “Man of Sorrows” panel on the front of the high altar)

27. Donatello,
Equestrian Monument to Erasmo da Narni (“Gattamelata”)
Bronze,
Piazza del Santo, Padua

29. Four bronze horses from the façade of San Marco, Venice
(brought to Venice from Constantinople during the 4th Crusades

30. “Gattamelata”,
detail

31. “Gattamelata”,
Detail of armour

33. View of interior of San Lorenzo, Florence

34. 1459+: Pulpits, Florence, San Lorenzo: Vespasiano da Bisticci's life of Cosimo il Vecchio (1485) that Cosimo commissioned from Donatello bronze pulpits in San Lorenzo and some doors which are in the sacristy and paid enough money for the master and his 4 assistants.
DONATELLO Pulpit (on the left) 1465 Marble and bronze, 137 x 280 cm Church of San Lorenzo, Florence

35. DONATELLO Pulpit (on the right) 1465 Marble and bronze, 123 x 292 cm Church of San Lorenzo, Florence

36. Florence, Palazzo Vecchio
Donatello
Judith and Holofernes
1457
Florence, Palazzo Vecchio
Detail of
Holofernes
Judith, Florence, Palazzo Vecchio;; bonze, parcel gilt, 236 cm including base, width of base reliefs = 57cm. sectionally cast; wax covered fabric for drapery directly cast. set on triangular base (front: Bacchic orgy, back, harvesting and treading of grapes, the subject of which derives from Hadrianic sarcophagi of drunken putti like that in the Camposanto.) on circular plinth. The 4 corners of the wineskin and the mouths of the central masks in the three reliefs are bored for the extrusion of water, and it is generally assumed from this that Judith was originally a fountain fgure before it was moved in 1495.
Fom the Apocrypha, a wealthy beautiful pious Jewish widow, who entered the camp of the invading Assyrian army outside Bethulia accompanied by her maid. After intoxicating Holofernes, she severed his head and returned with it to Bethulia. cf. a 1460 Medicean Psalter on whose first page is a miniature of St. Francis flanked by Judith and David, and an Evangelary, presented by Piero to the Duomo in 1466, shows David and Judith as ancillary figures to the Last Judgment. Seymour, p. 145: the meaning of the istoria "has much to do with the triumph of humility and continence over pride and lust."
front inscription: "kingdoms fall through luxury, cities rise through virtue. Behold the proud neck severed by a humble hand." Back: "The public weal. Piero son of Cosimo de' Medici dedicated the statue of this woman to liberty and to the fortitude with which the citizens, with resolute and unvanquished spirit, bring to the public good." This back inscription was presumeably added later after the death of Cosimo il Vecchio in 1464, and it has been suggested that it was added after the Pitti Conspiracy in In 1495, the back inscription was replaced with "Exemplum sal[utis] pub[licae] cives pos[uerunt] MCCCCXCV." JPH, 1993,
Detail of base
relief

43. DONATELLO St John the Baptist 1438 Painted and gilded Wood, Santa Maria Gloriosa dei Frari, Venice
Mary Magdalen c Painted and gilded Wood, Museo dell'Opera del
Duomo, Florence

47. Donatello
St. John the Baptist
1457 Bronze, height: 185 cm Duomo, Siena

48. Donatello,
Lamentation
before 1456 Bronze, 33,5 x 41,5 cm Victoria and Albert Museum,
London