[Footnote 81:  Cf. Payments to Andrea Moscatello, for painted and glazed terra-cotta for the Paduan altar.  May 1449.]

[Footnote 82:  From the Residenza dell’ arte degli Albergatori, and that of the Rigattieri of Florence, figured on plates xii. and xv. of Carocci’s “Ricordi del Mercato Vecchio,” 1887.]

[Footnote 83:  Cf. Payments for work on “Archi de la balcona de lo lavoriero de la +,” i.e., the crociera of the church, March 30 and April 11, 1444.]

[Footnote 84:  Siena Library.]

[Footnote 85:  Domopera, 7, vii. 1433.]

[Illustration:  Alinari

THE MARZOCCO

BARGELLO]

[Illustration:  Alinari

THE MARTELLI SHIELD]

Two fountains are ascribed to Donatello, made respectively for the Pazzi and Medici families.  The former now belongs to Signor Bardini.  It is a fine bold thing, but the figure and centrepiece are unfortunately missing.  The marble is coated with the delicate patina of water:  its decoration is rather nondescript, but there is no reason to suppose that Rossellino’s fonte mentioned by Albertini was the only one possessed by the Great House of the Pazzi.  The Medici fountain, now in the Pitti Palace, is rather larger, being nearly eight feet high.  The decoration is opulent, and one could not date these florid ideas before Donatello’s later years.  The boy at the top dragging along a swan is Donatellesque, but with mannerisms to which we are unaccustomed.  The work is not convincing as regards his authorship.  The marble Lavabo in the sacristy of San Lorenzo is also a doubtful piece of sculpture.  It has been attributed to Verrocchio, Donatello and Rossellino.  It has least affinity to Donatello.  The detailed attention paid by the sculptor to the floral decoration, and the fussy manner in which the whole thing is overcrowded, as if the artist were afraid of simplicity, suggest the hand of Rossellino, to whom Albertini, the first writer on the subject, has ascribed it.  Donatello made the Marzocco, the emblematic Lion of the Florentines, and it has therefore been assumed that he also made its marble pedestal.  This is held to be contemporary with the niche of Or San Michele.  So far as the architectural and decorative lines are concerned this is not impossible, though the early Renaissance motives long retained their popularity.  There is, however, one detail showing that the base must be at least twenty-five years older than the niche.  The arms of the various quarters of Florence are carved upon the frieze of the base.  Among these shields we notice one bearing “on a field semee of fleurs-de-lys, a label, above all a bendlet dexter.”  These are not Italian arms.  They were granted in 1452 to Jean, Comte de Dunois, an illegitimate son of the Duc d’Orleans.  His coat had previously borne the bendlet sinister, but this was officially