tely carved frame, while on the
cornice above there are six children holding garlands. Its date has
been the subject of even more discussion than that of the
Crucifix,[50] and the conflict of opinion has been so keen that the
intrinsic merits of this remarkable work have been sometimes
overlooked. The date is, of course, important for the classification
of Donatello's work, but it is a pity when the attention of the critic
is monopolised by minor problems. Milizia, when in doubt about the
date of Alberti's birth, did not go too far in saying "_disgrazia
grande per chi si trova la sua felicita nelle date_." The Annunciation
was erected by the Cavalcanti family, and the old theory that it was
ordered to commemorate their share in the victory over Pisa in 1406
has been upheld by the presence on the lower frieze of a winged
wreath, an emblem of victory. The object of the donor is conjectural:
we know nothing about it; and the association of wings and a wreath is
found elsewhere in Donatello's work.[51] Moreover, the rich
Renaissance decoration is quite sufficient to demonstrate that the
work must be much later than 1406, though whether immediately before
or after the second Roman visit must be founded on hypothesis. The
precise date of the particular decoration is too nebular to permit any
exact statement on the subject. There was never any line of
demarcation between one school and another. One can find Gothic ideas
long after the Renaissance had established its principles,[52] while
the period of transition lasted so long, especially in the smaller
towns, that the old and new schools often flourished concurrently.
This relief is made of Pietra Serena, of a delicate bluish tint, very
charming to work in, according to Cellini, though without the
durability needed for statues placed out of doors.[53] It has been
enriched with a most lavish hand and there is no part of the work
without sumptuous decoration. The base, with the central wreath, is
flanked by the Cavalcanti arms: above them rise two rectangular shafts
enclosing the relief on either side. These columns are carved with a
fretwork of leaves, and their capitals are formed of strongly
chiselled masks of a classical type, like those on the Or San Michele
niche. Above the shafts comes the plinth, which has a peculiar egg and
dart moulding, in its way ugly, and finally the whole thing is crowned
with a bow-shaped arch, upon which the six terra cotta _Putti_ are
placed, t