inita at Florence is a good example of the _bottega_.

[Footnote 182: Siena Cathedral, bronze; Berlin Museum, bronze; Frari
Church, Venice, wood.]

[Footnote 183: 10, ii. 1423. On 29, iv. 1423, Donatello received 5
lbs. 3 oz. of wax for modelling the figure. Luzi, "Duomo di Orvieto,"
1867, p. 406.]

[Footnote 184: Vasari, i. 147.]

[Footnote 185: _Che niuno maestro di legname possa fare di pietra._
Rules of Sculptors of Sienna, 1441, ch. 39. Milanesi, i. 120.]

[Footnote 186: In Museum. From the Capella Manfredi in San Girolamo
degli Osservanza outside the town, suppressed in 1866. _Cf._ two
similar statuettes in terra-cotta, Bargello, Nos. 174 and 175.]

[Footnote 187: Louvre, about 12 inches high, unnumbered. Museo
Archeologico, Venice, No. 8. Frau Hainauer's bronze Baptist, signed by
Francesco di San Gallo, is interesting in this connection.]

[Footnote 188: Victoria and Albert Museum, No. 157, 1894.]

[Footnote 189: _Ibid._ No. 7605, 1861, terra-cotta. Louvre, No. 465,
ditto.]

[Footnote 190: _Cf._ Herr von Beckerath's in Berlin, and the
Verrocchio-school Magdalen in the Berlin Gallery, No. 94.]

* * * * *

[Sidenote: The Altar at Padua.]

Donatello was fifty-seven when he left Florence in 1443 to spend ten
eventful years at Padua. There he carried out his masterpieces of
bronze for the Cathedral and the equestrian statue of Gattamelata on
the Piazza opposite Donatello's little house, which to this day is
occupied, appropriately enough, by a carver--Bortolo Slaviero,
_tagliapietra_. It is now established that Donatello was invited to
Padua for the Church and that the Gattamelata was not commissioned
until later.[191] At this time Padua was a centre of humanistic
learning and intellectual activity. There was a hive of antiquarians
and collectors, and, according to its lights, a thriving school of
painters.[192] The Florentine Palla Strozzi was living there in
retirement, and he may have been partly responsible for the invitation
to Donatello. But the indigenous art of Padua was dependent on Venice,
and needed some fertilising element. Squarcione with his 140 pupils
founded his art upon traditional and conventional data: had it not
been for Donatello and the radical changes which resulted from his
sojourn at Padua, a fossilised school would have become firmly rooted,
and would probably have influenced the whole of the Veneto. Mantegna
was still young when Donatello arrived