architectural background, in contrast to Leonardo da Vinci, who, with
all his love of building, seldom if ever used one in the backgrounds
of his pictures: but then Leonardo was the most advanced botanist of
his age.

[Footnote 21: Edition 1768, p. 74.]

[Footnote 22: _E.g._, Milanesi, Catalogo, 1887, p. 6.]

[Footnote 23: Cinelli's edition, 1677, p. 45.]

[Footnote 24: Raffaelle Mengs, Collected Works. London, 1796, I., p.
132.]

[Footnote 25: Printed in Vasari, Lemonnier Ed., 1846, vol. i.]

* * * * *

[Sidenote: The Zuccone and the Sense of Light and Shade.]

Speaking of the employment of light and shade as instruments in art,
Cicero says: "_Multa vident pictores in umbris et in eminentia, quæ
nos non videmus_." One may apply the dictum to the Zuccone where
Donatello has carved the head with a rugged boldness, leaving the play
of light and shade to complete the portrait. Davanzati was explicit on
the matter,[26] showing that the point of view from which the Zuccone
was visible made this coarse treatment imperative, if the spectator
below was to see something forcible and impressive. "The eyes," he
says, "are made as if they were dug out with a shovel: eyes which
would appear lifelike on the ground level would look blind high up on