the Campanile, for distance consumes diligence--_la lontananza si
mangia la diligenzia_." The doctrine could not be better stated, and
it governs the career of Donatello. There is nothing like the Zuccone
in Greek art: nothing so ugly, nothing so wise. Classical sculptors in
statues destined for lofty situations preserved the absolute truth of
form, but their diligence was consumed by distance. What was true in
the studio lost its truth on a lofty pediment or frieze. They
preserved accuracy of form, but they sacrificed accuracy of
appearance; whereas relative truth was in reality far more
important--until, indeed, the time comes when the lights and shades of
the studio are reproduced in some art gallery or museum.

[Footnote 26: In Introduction to his translation of Tacitus.]

* * * * *

[Illustration: _Alinari_

ABRAHAM AND ISAAC

CAMPANILE, FLORENCE]


[Sidenote: Abraham and the Sense of Proportion.]

The statue of Abraham and Isaac on the east side of the Campanile is
interesting as being the first group made by Donatello. The subject
had already been treated by Brunellesco and Ghiberti in relief.
Donatello had to make his figures on a larger scale. Abraham is a
tall, powerful man with a long flowing beard, looking upwards as he