harmonised with admirable feeling. Every feature is made to
correspond, interrelated by some secret necessary to the art of
portraiture. The broad brow and the calm eyes looking upwards are in
relation with the delicately chiselled nose and mouth, while the right
hand, which is outstretched in giving the blessing, is rendered with
infinite sentiment and grace. St. Louis, in short, deserves high
commendation, as, in spite of errors, it achieves something to which
Donatello seldom aspired; and it has the further interest of being his
earliest figure in bronze, a material in which some of his most
renowned works were executed. The whole question of Donatello's share
in the actual casting will be considered at a later stage. It will be
enough to say at this point that the St. Louis, which was probably
finished about 1425, was cast with the assistance of Michelozzo.

* * * * *

[Illustration: _Alinari_

ST. GEORGE

IN NICHE ON OR SAN MICHELE]


[Sidenote: St. George.]

The St. George is the most famous of Donatello's statues, and is
generally called his masterpiece. The marble original has now been
taken into the Museum, and a bronze cast replaces it at Or San
Michele. The cause of this transfer is understood to be a fear that
the statue would be ruined by exposure, although one would think that