1443 – Donatello seems to have left Florence late in the year for Padua Il Santo, Padua

1443 – Donatello seems to have left Florence late in the year Donatello, High Altar of il Santo, 1447-50, Bronze Basilica di Sant'Antonio, Padua

Donatello High Altar of il Santo 1447-50 Bronze Basilica di Sant'Antonio, Padua

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St. Francis

Tl Daniel Santa Giustina

St. Louis St. Prosdocimus

Miracle of the New-born Child 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

Miracle of the Repentant Son 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

Miracle of the Repentant Son 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

Pietro Perugino (Pietro di Cristoforo Vanucci), born 1445 - died 1523 1480s: Apollo and Daphnis (Paris, Louvre), which may have been made for Lorenzo the Magnificent. Miracle of the Ass 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

Miracle of the Miser’s Heart 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

Miracle of the Miser’s Heart 1447-50 Bronze, 57 x 123 cm Basilica di Sant'Antonio, Padua

1459+: Pulpits, Florence, San Lorenzo: Vespasiano da Bisticci's life of Cosimo il Vecchio (1485) that Cosimo commissioned from Donatello bronze pulpits in San Lorenzo and some doors which are in the sacristy and paid enough money for the master and his 4 assistants.

1459+: Pulpits, Florence, San Lorenzo: Vespasiano da Bisticci's life of Cosimo il Vecchio (1485) that Cosimo commissioned from Donatello bronze pulpits in San Lorenzo and some doors which are in the sacristy and paid enough money for the master and his 4 assistants.

Donatello 1457 - Judith, Florence, Palazzo Vecchio 1457 - Judith, Florence, Palazzo Vecchio;; bonze, parcel gilt, 236 cm including base, width of base reliefs = 57cm. sectionally cast; wax covered fabric for drapery directly cast. set on triangular base (front: Bacchic orgy, back, harvesting and treading of grapes, the subject of which derives from Hadrianic sarcophagi of drunken putti like that in the Camposanto.) on circular plinth. The 4 corners of the wineskin and the mouths of the central masks in the three reliefs are bored for the extrusion of water, and it is generally assumed from this that Judith was originally a fountain fgure before it was moved in 1495. Fom the Apocrypha, a wealthy beautiful pious Jewish widow, who entered the camp of the invading Assyrian army outside Bethulia accompanied by her maid. After intoxicating Holofernes, she severed his head and returned with it to Bethulia. cf. a 1460 Medicean Psalter on whose first page is a miniature of St. Francis flanked by Judith and David, and an Evangelary, presented by Piero to the Duomo in 1466, shows David and Judith as ancillary figures to the Last Judgment. Seymour, p. 145: the meaning of the istoria "has much to do with the triumph of humility and continence over pride and lust." front inscription: "kingdoms fall through luxury, cities rise through virtue. Behold the proud neck severed by a humble hand." Back: "The public weal. Piero son of Cosimo de' Medici dedicated the statue of this woman to liberty and to the fortitude with which the citizens, with resolute and unvanquished spirit, bring to the public good." This back inscription was presumeably added later after the death of Cosimo il Vecchio in 1464, and it has been suggested that it was added after the Pitti Conspiracy in 1466. In 1495, the back inscription was replaced with "Exemplum sal[utis] pub[licae] cives pos[uerunt] MCCCCXCV." JPH, 1993, 280-1.