28 ...

“You’ve seen how Michelangelo respects you Donatello. I would say even that he worships you and your achievements; however, in Michelangelo’s case, I think his own ego precludes the worship of any other artist. You should also know that many generations have envied and admired your accomplishments, and those of your friends and acquaintances. 

         St. George  (c. 1415-20)                                                                                                 David (early 1440s)

Given the choice, many would gladly join that circle of artists if they could live in Firenze in the early Quattrocento, or perhaps at any time during the Italian Renaissance. Donatello, Brunelleschi, Masaccio, Ghiberti – these are just a few of your many friends, all creative geniuses, giants to people like me. In my opinion, these are the direct ancestors of modern Western art. And I must say, it’s a testament to your good nature and your talent for gentle diplomacy – a skill we saw in action last night at dinner with Michelangelo – that your list of friends includes all of these sometimes prickly artists.”

Donatello smiled graciously. “Such kind words, David. Thank you. I have been blessed in so many ways, not least by having so many good friends. It is certainly gratifying to feel that I belong in such company. The inventiveness I have witnessed – and in some small way that I have been part of – this has been intoxicating, and so enjoyable. To see my good friend Filippo, come si dice, crack the nut (?) of perspective – a solution that has eluded others for centuries – this was explosive for all of us in Firenze.”

“It was explosive for the world, my friend,” I added.

The Feast of Herod, 1423-27

“Well, yes, I have seen this now, thanks to your invitations to Venezia and Roma. The Baroque painters – Dio mio – such drama, such uh … how can I put this? ... such life-like illusions. It’s breath-taking, no? 

Andrea Pozzo, Apoteosi di Ignazio, c. 1685, Church of San Ignazio, Rome

https://commons.wikimedia.org/wiki/Andrea_Pozzo

And then to see what painters like Pablo Picasso have done to turn all of it on its head; che una mentalità straordinaria! This thing, perspective drawing, has however, been a mixed blessing for my dear friend Paolo. You are familiar with his work?”

“Uccello? Why yes of course. He did amazing drawings and paintings demonstrating the intricacies of perspective.”

Paolo Uccello, perspective drawing, early Renaissance 

https://commons.wikimedia.org/wiki/Category:Paolo_Uccello

Paolo Uccello, perspective drawing, early Renaissance 

https://commons.wikimedia.org/wiki/Category:Paolo_Uccello

“This is true,” replied a wistful Donatello. “ Such a good friend. He has a boy now; the boy is named Donato, for me.” He smiled. “ But Paolo … he obsesses over his drawings. He’ll stay awake all night plotting vanishing points. I have tried to counsel him to be more moderate, but I may as well talk to the cobblestones … poor fellow.” 

Waking from his reverie, Donatello turned to look out at the passing countryside and steered the conversation in a different direction. “You know, travel is so important, is it not? Travel educates us and inspires us. It teaches us that we are not the centre of the universe. It was my travels to Roma with Filippo that I credit with the discoveries we both made, or in my own case perhaps I should say the re-discoveries. While Filippo was off making complex drawings of the ruins, I found some beautiful sculptures, standing figures in what we call the contrapposto stance. I feel pleased to say that I helped to return the naturalism of this pose to the world. That earlier pose people refer to as "the Gothic sway" ... it just never felt right to me.