[Footnote 70: Domopera, 2, ix., 1429.]

[Footnote 71: _Ibid._ 18, iii., 1426.]

[Footnote 72: "Due Trattati," ch. xii.]

[Footnote 73: Pomponius Gauricus, "De Sculptura," 1504, p. b, iii.]

[Footnote 74: April 1434.]

[Footnote 75: See _American Journal of Arch._, June 1900.]

[Footnote 76: The so-called St. George in the Royal Library at Windsor
has been determined by Mr. R. Holmes to be Perugino's study for the
St. Michael in the National Gallery triptych. In the Uffizzi several
pen-and-ink drawings are attributed to Donatello. The four eagles, the
group of three peasants, the two figures seen from behind (Frame 5,
No. 181), and the candlestick (Frame 7, No. 61 s.), are nondescript
studies in which no specific sign of Donatello appears. The five
winged _Putti_ (Frame 7, No. 40 f.) and the two studies of the Madonna
(Frame 7, No. 38 f.) are more Donatellesque, but they show the
niggling touch of some draughtsman who tried to make a sketch by mere
indications with his pen. There is also a study in brown wash of the
Baptistery Magdalen: probably made from, and not for, the statue. The
Louvre has an ink sketch (No. 2225, Reynolds and His De la Salle
Collections) of the three Maries at the Tomb, or perhaps a fragment of
a Crucifixion, with a fourth figure, cowled like a monk. It is a gaunt
composition, made with very strong lines. It may be noted that the
eyes are roughly suggested by circles, a mannerism which recurs in
several drawings ascribed to Donatello. This was also a trick of