Baldassare Peruzzi (Sketch-Book, Siena Library, p. 13, &c.). In the
British Museum there is an Apostle holding a book (No. 1860, 6. 13.
31), with a Donatellesque hand and forearm; also a Lamentation over
the dead Christ (No. 1862, 7. 2. 189). Both are interesting drawings,
but the positive evidence of Donatello's authorship is _nil_. Mr.
Gathorne Hardy's drawing, which has been ascribed to Donatello, is
really by Mantegna, a capital study for one of the frescoes in the
Eremitani.]

[Footnote 77: Uffizzi, Frame 6, No. 6347 f.]

[Footnote 78: See Life by J.T. Smith, 1828.]

[Footnote 79: Victoria and Albert Museum, No. 7619, 1861. This sketch,
which appears to have been made for the Forzori family, has been
mistaken for a study for the San Lorenzo pulpit.]

[Illustration: _Alinari_

NICHE OF OR SAN MICHELE

THE GROUP BY VERROCCHIO]

Sculpture relies upon the contour, architecture upon the line. The
distinction is vital, and were it not for the number and importance of
the exceptions, from Michael Angelo down to Alfred Stevens, one would
think that the sculptor-architect would be an anomaly. In describing
the pursuits of Donatello and Brunellesco during their first visit to
Rome, Manetti says that the former was engrossed by his plastic
researches, "_senza mai aprire gli occhi alla architettura_." It is