stumpy, and we would then be captivated by the beauty of the face.  It has real “beauty”; the hackneyed and misused term can only be properly applied to Donatello’s work in very rare cases, of which this is one.  The face itself is taken from some model, which could be idealised to suit a definite conception, and in which the pure and symmetrical lines are harmonised with admirable feeling.  Every feature is made to correspond, interrelated by some secret necessary to the art of portraiture.  The broad brow and the calm eyes looking upwards are in relation with the delicately chiselled nose and mouth, while the right hand, which is outstretched in giving the blessing, is rendered with infinite sentiment and grace.  St. Louis, in short, deserves high commendation, as, in spite of errors, it achieves something to which Donatello seldom aspired; and it has the further interest of being his earliest figure in bronze, a material in which some of his most renowned works were executed.  The whole question of Donatello’s share in the actual casting will be considered at a later stage.  It will be enough to say at this point that the St. Louis, which was probably finished about 1425, was cast with the assistance of Michelozzo.

* * * * *

[Illustration:  Alinari

ST. GEORGE

IN NICHE ON OR SAN MICHELE]

[Sidenote:  St. George.]

The St. George is the most famous of Donatello’s statues, and is generally called his masterpiece.  The marble original has now been taken into the Museum, and a bronze cast replaces it at Or San Michele.  The cause of this transfer is understood to be a fear that the statue would be ruined by exposure, although one would think that this would apply still more to the exquisite relief, which remains in situ, though unprotected by the niche.  In the side-lighted Bargello, the St. George is crowded into a shallow niche (with plenty of highly correct detail) and is seen to the utmost disadvantage; but no incongruity of surroundings, no false relations of light can destroy the profound impression left by this statue, which was probably completed about 1416, in Donatello’s thirtieth year.  Vasari was enthusiastic in its praise.  Bocchi wrote a whole book about it,[34] in which we might expect to find valuable information; but the interest of this ecstatic eulogy is limited.  Bocchi gives no dates, facts or authorities; nothing to which modern students can turn for accurate or specific knowledge of Donatello.  Cinelli says the St. George was held equal to the rarest sculpture of Rome,[35] and well it might be.  The St. George was made for the Guild of Armourers; he is, of course, wearing armour, and the armour fits him, clothes him.  It is not the clumsy inelastic stuff which must have prevented so many soldiers from moving a limb or mounting a horse.  In this case the lithe and muscular frame is free and full of movement, quite unimpeded