[Footnote 12: _Cf._ Madame André's prophet and figures on Mandorla
door.]

* * * * *

[Sidenote: Statues of the Campanile.]

We must now refer to a group of statues which adorn the Campanile, the
great Bell tower designed by Giotto for the Cathedral. Not counting
the numerous reliefs, there are sixteen statues in all, four on each
side of the tower, and in themselves they epitomise early Florentine
sculpture. Donatello's statues of Jeremiah, Abraham, and St. John the
Baptist offer no difficulties of nomenclature, but the Zuccone and the
Habbakuk are so called on hypothetical grounds. The Zuccone has been
called by this familiar nickname from time immemorial: bald-head or
pumpkin--such is the meaning of the word, and nobody has hitherto
given a reasoned argument to identify this singular figure with any
particular prophet. As early as 1415 Donatello received payment for
some of this work, and the latest record on the subject is dated 1435.
We may therefore expect to find some variety in idea and considerable
development in technique during these twenty years. Donatello was not
altogether single-handed. It is certain that by the time these
numerous works were being executed he was assisted by scholars, and
the Abraham was actually made in collaboration with Giovanni di
Bartolo, surnamed Il Rosso. It is not easy to discriminate between the
respective shares of the partners. Giovanni was one of those men whose
style varied with the dominating influence of the moment. At Verona he
almost ceased to be Florentine: at Tolentino he was himself; working
for the Campanile he was subject to the power of Donatello. The
Prophet Obadiah, which corresponds in position to the St. John Baptist