t in S. Giovanni
Laterano is his work. But it cannot possibly be by him, though it may
be a later copy of a fifteenth-century original. Curiously enough,
there is another Baptist in the same church which is Donatellesque in
character and analogous in some respects to the St. John at Siena,
namely, the large bronze statue signed by Valadier and dated 1772.
Valadier was a professional copyist, some of his work being in the
Louvre. Where he got the design for this Baptist we do not know; but
it is certainly not typical of the late eighteenth century. Titi
mentions a head in Santa Maria Sopra Minerva, and a medallion portrait
of Canon Morosini in Santa Maria Maggiore.[133] Neither of them can be
found.

[Footnote 130: See Schmarsow, p. 32.]

[Footnote 131: See "Arch. Storico dell' Arte," 1888, p. 24.]

[Footnote 132: Victoria and Albert Museum, No. 7629, 1861. Bocchi
says: "_Un quadro di marmo di mano di Donatello di basso relievo: dove
e effigiato quando da le chiavi Cristo a S. Pietro. Estimata molto da
gli artefici questa opera: la quale per invenzione e rara, e per
disegno maravigliosa. Molto e commendata la figura di Cristo, e la
prontezza che si scorge nel S. Pietro. E parimente la Madonna posta in
ginocchione, la quale in atto affetuoso ha sembiante mirabile e
divoto_," p. 372.]

[Footnote 133: "Ammaestramento Utile," 1686, p. 141. "_Una testa nel
deposito a mano destra della Porta Maggiore, e scoltura di Donatello
Fiorentino._" In Chapel of Paul V., Sta. M. Maggiore: "_In terra in
una lapide vi e di profilo la figura del Canonico Morosini, opera di
Donatello famoso scultore e architetto._" _Ibid._ p. 241.]

* * * * *

[Sidenote: The Medici Medallions.]

The Medici did not remain in exile long, and their return to Florence
marks an epoch in the artistic as well as the political history of
Tuscany. From this moment the sway of the private collector and patron
began. Gradually the great churches and corporations ceased giving
orders on the grand scale, for much of the needful decoration was by
then completed. By the middle of the century patronage was almost
wholly vested in the magnates of commerce and politics: if a chapel
were painted or a memorial statue set up, in most cases the artist
worked for the donor, and not for the church authorities. The
monumental type of sculpture became more rare, _bric a brac_ more
common. Well-known men like Donatello received the old kind of