and feet turn in different directions, thus giving a dualism to the movement, an impression of surprise which is in itself a tour de force.  But there is nothing bizarre or far-fetched, and the general idea one receives is that we have a momentary vision of the scene:  we intercept the message which is well rendered by the pose of the angel, while its reception is acknowledged by the startled gesture of the Virgin. “E stupendo l’artifizio."[55] The scheme is what one would expect from Luca della Robbia.  Nothing of the kind reappears in Donatello’s work, and the attainment of beauty as such is also beyond the sphere of his usual ambition.  Indeed, so widely does the Annunciation differ from our notions about the artist, that it has been recently suggested that Donatello was assisted in the work:  while some people doubt the attribution altogether.  The idea that Michelozzo should have done some of the actual carving may be well or ill founded; in any case, no tangible argument has been advanced to support the idea.  Donatello’s authorship is vouched for by Albertini, who wrote long before Vasari, and whose notice about the works of art in Florence is of great value.[56] But we have no standard of comparison, and Donatello himself had to strike out a new line for his new theme.  The internal evidence in favour of Donatello must therefore be sought in the accessories; and in architectural details which occur elsewhere,[57] such as the big and somewhat incontinent hands, the typical putti, and the rather heavy drapery.  To this we may add the authority of early tradition, the originality and strength of treatment, and finally the practical impossibility of suggesting any alternative sculptor.

[Footnote 47:  Vasari, iii. 247.]

[Footnote 48:  In the Capella Gondi, Santa Maria Novella.]

[Footnote 49:  In San Giorgio Maggiore, Venice.]

[Footnote 50:  Borghini, Donatello’s earliest work.  Semper, 1406.  Schmarsow, 1412.  Bode, before the second journey to Rome in 1433.  Reymond, 1435.]

[Footnote 51:  E.g., on the Or San Michele niche, round the Trinity.  Verrocchio also used it on his sketch model for the Forteguerri tomb, Victoria and Albert Museum, No. 7599, 1861.]

[Footnote 52:  E.g., Pacifico tomb about 1438 and the Francesco Foscari tomb about 1457, both in the Frari.]

[Footnote 53:  “Due Trattati di Benvenuto Cellini,” ed.  Carlo Milanesi, 1857.  Ch. 6 on marble.]

[Footnote 54:  Cf. Putti on the Roman Tabernacle.]

[Footnote 55:  Bocchi, p. 316.]

[Footnote 56:  “Memoriale di molte statue e pitture della citta di Firenze,” 1510.]

[Footnote 57:  Or San Michele niche, San Lorenzo Evangelists.]

* * * * *

[Sidenote:  Martelli, David and Donatello’s Technique.]