only characteristic of this St. John. Technically the work is
admirable. The singular care with which the limbs are modelled,
especially the feet and hands, is noteworthy: while the muscular
system, the prominent spinal cord, and the pectoral bones are rendered
with an exactitude which leads one to suppose Donatello reproduced all
the peculiarities of his model. It has been said that Michelozzo
helped Donatello on the ground that certain details reappear on the
Aragazzi monument. The argument is speculative, and would perhaps gain
by being inverted,--by pointing out that when making the Aragazzi
figures, Michelozzo, the lesser man, was influenced by Donatello, the
greater.

[Footnote 62: Bocchi, 23. Like the David, it used to live out of
doors, until in 1755 Nicolaus Martelli "in aedes suas transtulit." Its
base dates from 1794.]

[Footnote 63: It was acquired for nine zechins in 1784. Madame André
has a version in stucco, on rather a larger scale. A marble version
from the Strawberry Hill Collection now belongs to Sir Charles Dilke,
M.P.]

* * * * *

[Illustration: CLAY SKETCH OF CRUCIFIXION AND FLAGELLATION

LONDON]


[Sidenote: Donatello as Architect and Painter.]