SALOME RELIEF, SIENA.

STATUETTE OF FAITH (TO LEFT)]


[Sidenote: The Siena Font.]

Siena had planned her Cathedral on so ambitious a scale, that had not
the plague reduced her to penury the Duomo of Florence would have been
completely outrivalled. The Sienese, however, ordered various works of
importance for their Cathedral, and among these the Font takes a high
place. It was entrusted to Jacopo della Quercia, who had the active
assistance of Donatello and Ghiberti, as well as that of the Turini
and Neroccio, townsmen of his own. Donatello was thus brought under
new influences. He made a relief, a _sportello_ or little door, two
statuettes, and some children, all in bronze, being helped in the
casting by Michelozzo. Jacopo, who was about ten years older than
Donatello, had been a competitor for the Baptistery gates. He was a
man of immense power, in some ways greater than Donatello; never
failing to treat his work on broad and massive lines, and one of the
few sculptors whose work can survive mutilation. The fragments of the
Fonte Gaya need no reconstruction or repair to tell their meaning;
their statuesque virtues, though sadly mangled, proclaim the
unmistakable touch of genius. But Donatello's personality was not
affected by the Sienese artists. Jacopo, it is true, was constantly
absent, being busily engaged at Bologna, to the acute annoyance of the
Sienese, who ordered him to return forthwith. Jacopo said he would die
rather than disobey, "_potius eligeret mori quam non obedire patriæ
suæ_"; but the political troubles at the northern town prevented his