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Two fountains are ascribed to Donatello, made respectively for thePazzi and Medici families. The former now belongs to Signor Bardini.It is a fine bold thing, but the figure and centrepiece areunfortunately missing. The marble is coated with the delicate patinaof water: its decoration is rather nondescript, but there is no reasonto suppose that Rossellino's fonte mentioned by Albertini was theonly one possessed by the Great House of the Pazzi. The Medicifountain, now in the Pitti Palace, is[Pg 67] rather larger, being nearlyeight feet high. The decoration is opulent, and one could not datethese florid ideas before Donatello's later years. The boy at the topdragging along a swan is Donatellesque, but with mannerisms to whichwe are unaccustomed. The work is not convincing as regards hisauthorship. The marble Lavabo in the sacristy of San Lorenzo is also adoubtful piece of sculpture. It has been attributed to Verrocchio,Donatello and Rossellino. It has least affinity to Donatello. Thedetailed attention paid by the sculptor to the floral decoration, andthe fussy manner in which the whole thing is overcrowded, as if theartist were afraid of simplicity, suggest the hand of Rossellino, towhom Albertini, the first writer on the subject, has ascribed it.Donatello made the Marzocco, the emblematic Lion of the Florentines,and it has therefore been assumed that he also made its marblepedestal. This is held to be contemporary with the niche of Or SanMichele. So far as the architectural and decorative lines areconcerned this is not impossible, though the early Renaissance motiveslong retained their popularity. There is, however, one detail showingthat the base must be at least twenty-five years older than the niche.The arms of the various quarters of Florence are carved upon thefrieze of the base. Among these shields we notice one bearing "on afield seme of fleurs-de-lys, a label, above all a bendlet dexter."These are not Italian arms. They were granted in 1452 to Jean, Comtede Dunois, an illegitimate son of the Duc d'Orlans. His coat hadpreviously borne the bendlet sinister, but this was officially turnedinto a bendlet dexter, to show that the King had been pleased tolegitimise him in recognition of his services to Joan of Arc. Jean wasa contemporary[Pg 68] of Donatello, and the coat may have been placed amongthe other shields as a compliment to France. Certainly no quarter of atown could use a mark of cadency below a bendlet, and Florence wasmore careful than most Italian towns to be precise in her heraldry.Numbers of stone shields bearing the arms of Florentine families wereplaced upon the palace walls. When high up and protected by the broadeaves they have survived; but, as a rule, those which were exposed tothe weather, carved as they usually were in soft stone, haveperished.[86] Bocchi mentions that Donatello made coats-of-arms forthe Becchi, the Boni and the Pazzi. Others have been ascribed to him,namely, the Stemma of the Arte della Seta, from the Via di Capaccio,that on the Gianfigliazzi Palace, the shield inside the courtyard ofthe Palazzo Davanzati, and that on the Palazzo Quaratesi, all inFlorence. These have been much repaired, and in some cases almostentirely renewed. The shield on the eastern side of the old MartelliPalace (in the Via de' Martelli, No. 9) is, perhaps, coeval withDonatello, but it is insignificant beside the shield preserved insidethe present palace. This coat-of-arms, which is coloured according tothe correct metals and tinctures, is one of the finest extantspecimens of decorative heraldry. It is a winged griffin rampant, withthe tail and hindlegs of a lion. The shield is supported by the stonefigure of a retainer, cut in very deep relief, as the achievement wasto be seen from the street below. But the shield itself rivets one'sattention. This griffin can be classed with the Stryge, or[Pg 69] theEtruscan Chimra as a classic example of the fantastic monsters whichwere used for conventional purposes, but which were widely believed toexist. It possesses all the traditional attributes of the griffin. Itis fearless and heartless: its horrible claws strike out to wound inevery direction, and the whole body vibrates with feline elasticity,as well as the agile movement of a bird. Regarding it purely as acomposition, we see how admirably Donatello used the space at hiscommand: his economy of the shield is masterly. It is occupied atevery angle, but nowhere crowded. The spaces which are left vacant aredeliberately contrived to enhance the effect of the figure. It is theantithesis of the Marzocco.[87] The sculptor must have seen lions, butthe Marzocco is not treated in a heraldic spirit, although it holdsthe heraldic emblem of Florence, the fleur de lys florence.Physically it is unsuccessful, for it has no spring, there is verylittle muscle in the thick legs which look like pillars, and the backis far too broad. But Donatello is saved by his tact; he wasostensibly making the portrait of a lion; though he gives none of itsfeatures, he gives us all the chief leonine characteristics. Heexcelled in imaginary animals, like the Chinese artists who makeadmirable dragons, but indifferent tigers.

[241] E.g., work wrongly attributed to Donatello: thefigure of Plenty in the courtyard of the Canigiani Palace, Florence;the Lavabo in San Lorenzo; the two figures on the famous silver altarat Pistoja; the bronze busts in the Bargello; the font at PietraSanta; chimney-pieces, gateways, stemme, and numberless Madonnas andsmall bronzes. 17dc91bb1f