depicted in the roundels
are St. John's Apotheosis, Martyrdom, and Sojourn on Patmos, and the
Raising of Drusiana. There are landscapes and architectural
backgrounds; many figures are introduced, and there is a good deal of
nude study. We also notice a feature of frequent occurrence--a trick
of giving depth to the scene and vividness to the foreground, by
letting figures be cut off short by the frames. Men seem to be
standing on the spectator's side of the relief, and only appear at the
point where they can be partly included in the composition. The field
becomes one that would be included within the range of vision as seen
through a round window or telescope. Mantegna made great use of this
idea. The more one looks at these eight medallions the more one
regrets their present condition: washing is all that is required. If
they could be carefully cleaned we would certainly find details of
interest, and in all probability facts of importance. The frieze of
angels' heads which surrounds the Sacristy is of secondary interest,
as there are only two different cherubs, which are reproduced by
moulds all along its entire length. Signs of gilding and colour are
still visible. Pretty as they are, these angels cannot challenge
comparison with the Pazzi frieze or with Donatello's similar work
elsewhere--for instance, on the base of the Cantoria or upon the Or
San Michele niche. The marble balustrade of the altar may have been
designed by Donatello. The Sacristy shows how well adapted terra-cotta
was for decoration on a large scale. But Donatello was too wise to
cover the walls with his reliefs, as is the case in the Capella
Pellegrini at Verona. Here the sculpture is used to decorate the
chapel walls, there the walls are merely used to uphold the sculpture.

* * * * *

[Illustration: _Alinari_

BRONZE DOORS

SAN LORENZO, FLORENCE]

[Sidenote: The Bronze Doors.]

There is no more instructive study than the bronze doors of Italian
churches. They are the earliest specimens of bronze casting to be
found in Italy of Christian times; they show the gradual transition
from Eastern to Western forms of art, and they were usually made by
the most prominent sculptor of the day. Their size is considerable,
they are frequently dated, and their condition is often
extraordinarily good. Donatello's are relatively small, but they
adhere to the best traditions. Excluding the great doors made by Luca
della Ro