Donatello (1386-1466) left behind him so much work through the world that it may rightly be asserted that no artist worked so hard as he.” He set his hand, adds Vasari, to everything, and an epitaph praises him for having done “alone today all that with a skilful hand numbers had once done for sculpture.”
And it is true that Donatello was an all-round sculptor; he was equally at home in low relief and figures in the round, in wood as well as marble and bronze. With him, in Florence, the art of sculpture was born anew. His figures ranged from the martial St. George to Mary Magdalene “consumed by fastings and abstinence,” the arresting expressiveness of the latter being due in part at least, writes Vasari, “to his thorough knowledge of anatomy.”
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