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Donatello: catalogue of works

The following catalog of works by the Florentine sculptor Donatello (* around 1386 in Florence; † on 13 December 1466 in Florence) is based on the monographs by Horst W. Janson (1957), Ronald W. Lightbown (1980), John Pope-Hennessy (1996) as well as the catalogs of the 2022/2023 exhibitions in Florence, Berlin and London. In the case of unsigned or documented works, the attributions and dates are, as is usual, based predominantly on stylistic criteria and analogies to secured works. Many of the works attributed to Donatello were created in collaboration with other artists and with specialists in specific techniques.

The Sala di Donatello of the Bargello in Florence, the museum that houses most of Donatello's works

About the table

The table is designed to be sorted in the best logical way possible, so that it can be used productively for searches, statistics and analysis (with many compromises, see below. The sorting function will also be available in the app sometime). Technical terms, places, etc. are only linked once at first appearance.

Subject/Name

First of all, it must be said that almost none of Donatello's works at the time had an individual name or title (just as only a few were signed; sometimes they have got inscriptions that were created later, as with the Campanile figures). In addition to the prophet Habakkuk, who was quickly nicknamed Zuccone because of his pumpkin-shaped head, the late Judith and the ancient Dovizia on the main market square (today's Piazza della Repubblica) in Florence, which was also unique at the time, to clearly identify a work, the addition of the place (or commissioner) and (if you knew it) the artist's name was needed. The figure of David was just as unusual and for both statues it was generally known that Donatello had made them, but for the second one, the bronze David for the Medici, which became known just as soon, you had to differentiate by adding the place where it was installed, the client or the material. Almost all of the other sculptures were figures of Christ, the Madonna and Saints, which were everywhere and made up the entire iconographical canon of what could be depicted up to that point.

Bronze David, Pazzi Madonna and Cavalcanti Annunciation are all so-called Notnamen, short names that have been created over time by art historians since the 19th century , which have become established (with variants) and, particularly in the case of popular works, have become established in general through art literature, cultural and travel guides. A very special case in this regard is the so-called Amor-Attis, Amor-At(t)ys and vice versa, or also Atys-Amorino, as Horst W. Janson described it in his monograph, which is still fundamental to this day, he remains a mystery with its ambiguous ancient attributes. Another persistent enigma is of course the bronze David.

Perhaps contrary to expectations, in the table these Notnamen under “Subject/Name” follow (in italics) after a general descriptive name of the object (e.g. “Lion..., (Marzocco)”), so that all prophet figures, for example, or the five John the Baptist can be brought together. Likewise, all Madonnas and Virgins with the Christ child are referred to as “Madonna and Child” so that they can be compared; the Pazzi Madonna, for example, can be found as “Madonna and Child, (Pazzi Madonna)”.

Donatello's documented collaborators and assistants are then named in small boldface, followed by uncertain attributions, dates or functions in small, bold and italic, which is a reference to missing documentation. Separating the largely undisputed works attributed to Donatello from those secured by documents or omitting them entirely would not allow an overall view of his oeuvre, to approximate the assumed simultaneous work on different genres and their chronological progression.

Form

Under “Form” the statues in particular can be separated from the relief works, although at the same time e.g. all niche figures can also come together.

Materials

Donatello worked with a wide variety of materials, most often in innovative ways. In his time and also due to Donatello, in addition to marble, the complex and expensive bronze and cheap, easy-to-handle fired clay (terracotta) became the essential materials; almost exclusively white marble, especially for the early statues of the Florentine Cathedral, the stiacciato reliefs, the tombs and the two pulpits from the 1930s. Bronze, whose technique was almost lost and whose renaissance is associated above all with Lorenzo Ghiberti, his doors for the Baptistery of San Giovanni and the statues for Orsanmichele., for which Donatello then made his first bronze figure, the Saint Louis of Toulouse (1418–1422).

The main material used for the main object of a work is always mentioned first, then its treatment and secondary materials (as in the “St. Louis of Toulouse with niche”, first “bronze, fire-gilt”, then silver, enamel and rock crystal for the decoration of the bishop's crosier, and finally the marble for the niche in which the figure originally stood, that was also created by Donatello).

Dimensions

In the 15th century, a locally applicable ell (or arm length) was applicable, which could range between around 50 and 75 cm. The size of a sculpture may have been specified as such in contracts or described in sources. In Donatello's case, the Florentine braccio (Italian "arm") of 58.3 cm was used for the most part.

If height × width × depth is not specified in the table as measurements (in centimeters), at least the height of a figure or the diameter (d) of a tondo, if that was the only way it could be found in the literature.

Dating

When it comes to dating the work, a compromise had to be made in that the initial dates are decisive here. This means that for documented objects it is often the date of the (first) written commission or the decision to do so. However, as is often the case (at this time) and not only for Donatello, the completion of a work or even the beginning lay sometimes years in the future. The specified time period does not therefore mean the actual time that Donatello spent on a work. Especially since, even at the other end, that is, after Donatello had completed a sculpture, a considerable amount of time could pass before it was (as is often the case) primed and colored and also gilded by painters. The installation on site did not have to happen immediately, so such information in documents does not necessarily mean the time at which the sculpture was finished.

The priority of the starting date ignores the fact that during the period of often non-continuous work on a work, the understanding, the general knowledge of the classical model, with which Donatello continuously dealt, as well as the access to a specific task could change. This means that during the work process a stylistic change could take place that was not foreseeable at the beginning, or technical difficulties (or other circumstances) could arise that had to be solved and perhaps lead to a different result than it was originally planned.

Examples here include the early works, especially the marble David, whose speculative reworkings were the subject of much riddling. Is the composition of the Louis of Toulouse in several parts, rather than cast in one piece, as Ghiberti had done, due to Donatello's deficits in the knowledge of bronze casting or was this based on a practical consideration regarding fire gilding or perhaps the complexity of the folds? The question of its open back (original or removed for Santa Croce?) will continue to concern art historians.

Locations

The locations always start with the city, then the building in or on which the work was or is located. Under original location there is also information that names the client or clients or allows conclusions to be drawn about them. An (early) relocation of a work is also noted (e.g. with both David figures). Today's location indicates in part the inventory number of the object (“Inv. xy”) if it is part of a museum collection, if possible with a link to the institution's online catalog where –as with the Berlin collection– good images can be found, a detailed description and documentation, as well as a bibliography.

About the second table

Important here are the controversial works, which have always been close to the discussion about Donatello's work, but which are refused to be included in the catalog of works that can be considered secure. Particularly worth mentioning here are the portrait bust of Niccolò Uzzano, the Saint Peter at Orsanmichele and the Hildburgh Madonna and its derivatives.

Furthermore, the nature of the second table means that it cannot be complete. As far as casts and variants of mostly smaller to minute works are concerned, there may be a huge number scattered throughout museums and private collections that have received undocumented attributions based solely on stylistic similarities. This also applies to works based on Donatello's designs since the supposed designs no longer exist. The heraldic shields in particular, often with Donatello's trademark, the spiritelli, are probably all workshop products at best. Due to the lack of sources, there is no section for original location here, but one for the attribution appears as second column.

All of the works listed here may be considered examples, with an obvious emphasis on works from the Berlin Sculpture Collection in the Bode Museum, which has historical and practical reasons. On the one hand, the early Italian Renaissance and Donatello in particular have been the focus of collecting activities and research since the end of the 19th century, especially of Wilhelm von Bode, which was then basically continued to this day. This is reflected in today's online catalogue, most of the works are excellently documented. This is also a reason for selecting the pieces from other museums, the Victoria and Albert in London, which was similarly engaged as Berlin, the American collections of the National Gallery in Washington, the Detroit Institute of Arts and of course the museums in Florence itself, Donatello's birthplace and center of his professional life.

Catalogue of works

Image	Subject/Name	Form	Material	Dimensions (in cm)	Dating	Original location	Current location
	Prophet	statue	marble	128	1406	Florence, Santa Maria del Fiore, Porta della Mandorla	Florence, Museo dell'Opera del Duomo
	Christ as Man of Sorrows	relief	marble		1407–1408	Florence, Santa Maria del Fiore, Porta della Mandorla	Florence, Museo dell'Opera del Duomo. Copy on original site
	Crucifix	statue (demountable, with retractable arms)	wood, gesso primer, painted	170 × 166 × 35	1407–1408	Florence, Santa Croce, north transept	Florence, Santa Croce, Cappella Bardi di Vernio
	Creation of Eve, Damnation of Eve and Adam, Expulsion from Eden, The Labour of Adam and Eve – function, attribution and date arguable	reliefs (4), octagonal, probably for a hope chest (cassone)	terracotta, lead-glazed, partly gilded		1408, ca.	unknown	London, Victoria and Albert Museum (formerly South Kensington Museum) (Inv. ? 3) and one in Florence, Museo dell’Opera del Duomo
	David (with the head of Goliath, marble David)	statue	marble, originally with cord of the sling	191,5 × 78,5 × 42	1408–1409, 1416	Florence, Santa Maria del Fiore, planned for north tribune; Palazzo della Signoria, Sala dei Gigli (1416)	Florence, Bargello (since 1781, Inv. Sc. 2)
	John the Evangelist	statue in niche, sitting	marble	210	1408–1415	Florence, Santa Maria del Fiore, façade	Florence, Museo dell'Opera del Duomo
	Prophet Joshua	statue	terracotta, stucco, white-washed	550, circa	1409–1412	Florence, Santa Maria del Fiore, north tribune	deteriorated, not preserved
	Madonna and Child	statue	terracotta, gesso primer, painted		1410–1412	unknown	Empoli, Pontorme, San Martino
	Saint Mark	statue in niche	marble	236 × 74 (with base)	1411–1413	Florence, Orsanmichele, niche of the Arte dei Linaioli e Rigattieri (Guild of linen manufacturers and retail cloth dealers)	Florence, Orsanmichele, Museum. Copy at original site
	Madonna and Child – attribution and date arguable	statue, sitting	terracotta, originally primed and painted	73 × 45,3 × 36,5	1414, ca.	unknown	London, Victoria and Albert Museum (Inv. 7573-1861)
	Madonna and Child – attribution and date arguable	statue, sitting	terracotta, gesso primer, painted	68,6 × 37,8 × 38,1 38,1 kg	1414, ca.	unknown	Detroit, Institute of Arts (Inv. 40.19)
	Madonna and Child (Huldschinsky Madonna) – attribution and date arguable	statue, half figure	terracotta, originally primed and painted	90 × 75 × 24	1415, ca.	unknown	Berlin, Bode Museum (formerly Kaiser Friedrich Museum), Sculpture Collection and Museum of Byzantine Art (since 1892, Inv. 1940)
	Saint George and base relief with St. George Slaying the Dragon tympanum with God the Father	statue in niche with low reliefs	marble, probably at times with lance or sword and helmet (metal)	204 × 78 × 34 base relief: 39 × 120	1415–1417, ca.	Florence, Orsanmichele, north side, niche of the Arte dei Corazzai e Spadai (Guild of the armourers and swordsmiths)	Florence, Bargello (in copied niche). Copy at original site
	Madonna and Child and Two Angels	tabernacle, relief	terracotta, originally primed and painted	96,5 × 67,5 × 13,5	1415–1420, ca.	unknown	Prato, Museo di Palazzo Pretorio (since 1871, Inv. 1876)
	Prophets: Beardless Prophet Bearded Prophet (Profeta pensieroso)	statues in niches (first two of six)	marble	190 × 59 × 43, 193 × 64 × 44 (incl. plinth)	1416–1418 and 1418–1420	Florence, Santa Maria del Fiore, Campanile (all four on north side were moved to the east side in 1464)	Florence, Museo dell'Opera del Duomo (copies on east site)
	Lion with coat of arms of Florence (Marzocco)	statue on column	sandstone (macigno), marble, rosso di Maremma	135,5 × 38 × 60	1418–1420	Florence, Santa Maria Novella, stairs to papal chambers	Florence, Bargello
	Saint John the Baptist with Nanni di Bartolo, revised unfinished Joshua by Bernardo Ciuffagni	statue in niche (third of six)	marble	207 × 65 × 44	1420–1421	Florence, Santa Maria del Fiore, Campanile	Florence, Museo dell'Opera del Duomo (copy on original site)
	Saint Louis of Toulouse with niche maybe with Michelozzo di Bartolommeo	statue and architecture of aedicula	bronze, fire-gilded (ormolu), silver, enamel, rock crystal and marble	285 × 101 × 78	1418–1422, ca.	Florence, Orsanmichele, east side, niche of the Parte Guelfa, moved ca. 1440s–50s in niche above portal of Santa Croce; since 1483 Doubting Thomas by Verrocchio in original niche	Florence, Museo dell'Opera di Santa Croce
	Madonna and Child (Madonna of the Cords) – attribution and date arguable	relief	terracotta, gesso primer, painted	89 × 64 × 28	1420–1423, ca.	unknown	Florence, Museo Civici Fiorentini - Museo Stefano Bardini (Inv. MCF-MB 1922-682)
	Flagellation of Christ – function, attribution and date arguable	relief, low	marble	46,5 × 57,5 × 5	1420–1425, ca.	unknown	Moscow, Pushkin Museum, 1893–1945 in Berlin, Kaiser Friedrich Museum (henceforth solely as plaster cast)
	Abraham and Isaac with Nanni di Bartolo	statue in niche (fourth of six)	marble	188 × 56 × 45	1421	Florence, Santa Maria del Fiore, Campanile	Florence, Museo dell'Opera del Duomo (copy on east side of Campanile)
	Tomb of Antipope John' XXIII: tomb effigy. base, statues of virtues, sarcophagus, lunette with Madonna and Child, baldachin with Michelozzo and Pagno di Lapo Portigiani	gisant, architecture, relief	marble, partly painted and gilded, bronze, fire-gilded	213 (length of gisant)	1421–1427, ca.	Florence, Baptistery San Giovanni	Florence, Baptistery San Giovanni
	Prophet and Sibyl	relief, profile busts	marble	64, each	1422	Florence, Santa Maria del Fiore, Porta della Mandorla	Florence, Santa Maria del Fiore, Porta della Mandorla
	Madonna and Child (Pazzi Madonna)	relief, low	marble	74,5 × 73 × 6,5	1422, ca.	unknown, thought to be owned by the Pazzi family	Berlin, Bode Museum (since 1886, Inv. 51)
	Reliquary Bust of Saint Rossore (= Saint Luxorius)</ref>	bust, reliquary with lit and halo (lost)	bronze, fire-gilded	55 × 58 × 42	1422–1425, ca.	Florence, Ognissanti, since 1591 in Pisa, Santo Stefano dei Cavalieri	Pisa, Museo nazionale di San Matteo (since 1977)
	Prophet Jeremiah	statue in niche (fifth of six)	marble	191 × 45 × 45	1423, ca.	Florence, Santa Maria del Fiore, west side of Campanile	Florence, Museo dell'Opera del Duomo (copy on original site)
	Saint John the Baptist	statue	bronze, patinated	90,5 × 36,5 × 30	1423–24	Orvieto, Cattedrale di Santa Maria Assunta, baptistery font – uncertain	Moscow, Pushkin Museum, 1878 from Palazzo Strozzi until 1945 in Berlin, Kaiser Friedrich Museum (henceforth solely as plaster cast)
	Feast of Herod	relief (one on the hexagonal parapet)	bronze, fire-gilded	60 × 61	1423–1427	Siena, Baptistery of San Giovanni, baptistery font	Siena, Baptistery
	Madonna and Child and Four Angels (Madonna of the Clouds)	relief	marble	34 × 32,1 × 2,8	1425–1430, ca.	Florence, Palazzo vecchio di Medici, guardaroba of Cosimo († 1464), afterwards in posession of Piero del Pugliese	Boston, Museum of Fine Arts (Inv. 17.1470)
	Prophet Habakuk (Zuccone)	statue in niche (last of six)	marble	195 × 54 × 38	1426–ca. 1427 and 1435–1436	Florence, Santa Maria del Fiore, Campanile	Florence, Museo dell'Opera del Duomo (copy on west side of the Campanile)
	Tomb of Cardinal Rainaldo Brancacci: Annunciation relief all other design and execution by Michelozzo (and workshop)	relief, low; tomb monument with statues and reliefs, partly painted and gilded	marble	74 × 78 (relief)	1426–1428	Neapel, Sant’Angelo a Nilo	Neapel, Sant'Angelo a Nilo
	Faith and Hope	statuettes, two (of six) corner figures	bronze, fire-gilded	52, each	1427–1429	Siena, Baptistery San Giovanni, baptistery font	Siena, Baptistery
	Ascension with Christ Giving the Keys to Saint Peter	relief, low	marble	41 × 115	1428–1430	Florence, 1492 owned by Lorenzo de' Medicis, then by the Salviati until after 1677	London, Victoria and Albert Museum (Inv. 7629-1861)
	Christ's Blood	relief	marble	39,8 × 67	1429–1430	Siena (province), Torrita di Siena, Oratorio della Madonna delle Nevi	Siena (province), Torrita di Siena, Chiesa delle Sante Flora e Lucilla
	Spiritelli, making music with trumpet resp. tambourine	statuettes	bronze, fire-gilded	40 × 20 × 15,8 36,2 × 14,7 × 16,2	1429	Siena, Baptistery San Giovanni, baptistery font	Siena, Baptistery San Giovanni, baptistery font (w/ trumpet), Berlin, Bode Museum (Inv. 2653), a third maybe in Florence, Bargello (Inv. )
	Dovizia (on the Colonna dell'Abbondanza)	statue on column	sandstone (macigno)		1431	Florence, Mercato (vecchio), now Piazza della Repubblica	deteriorated and destroyed in a fall in 1721 (replaced with a version by Giovanni Battista Foggini, also replaced by a copy)
	Tomb slab for the papal secretary Giovanni Crivelli	relief, low	marble	235 × 88	1432	Rome, Santa Maria in Ara Coeli	Rome, Santa Maria in Ara Coeli
	Tabernacle (for the Eucharist)	relief	marble	225 × 120	1432	Rome, Apostolic Palace, Capella Parva	Rome (Vatican), St. Peter's Basilica
	Altar piece (Cavalcanti Annunciation)	relief in tabernacle, group of six statuettes	sandstone (macigno), painted white/gray with gilding terracotta (spiritelli)	419	1433–35, ca.	Florence, Santa Croce, for the Cavalcanti family chapel	Florence, Santa Croce
	Pulpit for organ or singers, Cantoria	reliefs of triforium on corbels and columns	marble, mosaic, bronze	348 × 570	1433–1439	Florence, Santa Maria del Fiore	Florence, Museo dell'Opera del Duomo
	Coronation of the Virgin (design)	leadlight, oculus	cartoon	380, ca.	1434–1437	Florence, Santa Maria del Fiore, eastern arch of the crossing (above the choir)	Florence, Santa Maria del Fiore
	Pulpit of the Holy Girdle parapet with dancing spiritelli between pairs of pilasters in part by workshop capital by Michelozzo Architecture planned with Michelozzo, executed by workshop (Pagno di Lapo Portigiani) and specialists on the spot	reliefs (seven)	marble, mosaic (glass casting, glazed ceramic, formerly gilded tesserae) for parapet bronze, fire-gilded (capital)	77 × 86 × 12 (each relief) 94,5 × 143,5 × 50 (capital)	1434–1438 (parapet, after new contract) commission of 1428, cast of capital at the end of 1433	Prato, Cathedral (then Pieve di Santo Stefano), southwest corner of façade	Prato, Cathedral and Cathedral Museum (1976, Inv. AGJ2748, [...] and AGJ1829); copies on original site
	Old Sacristy eight tondi with four scenes of the life of St. John and the four Evangelists sitting at their desk two lunettes with Saints Stephen and Lorenzo (l), and Cosmas and Damian (r) two doors with twenty pairs of arguing Martyrs (l) and Apostles (r), five on each leaf, architectural frames and decoration on supports architecture designed by Filippo Brunelleschi – no documents, first source is Filarete, Trattato, 1460-64	reliefs, architectural frames	bronze (doors), painted stucco (tondi and lunettes), sandstone (macigno)	215 d, ca. (tondi w/o molding) ca. 215 × 180 (lunettes w/o frame) 235 × 109 (each door with ten reliefs of 36,5 × 33,5 l, 34,5 r, both at bottom 35)	1434–1443	Florence, San Lorenzo	Florence, San Lorenzo
	Feast of Herod	relief, low	marble	50 × 71,3 × 5	1435, ca.	unknown	Lille, Palais des Beaux-Arts (Inv. Pl 1912)
	Madonna and Child (Goretti Miniati Madonna)	relief	marble	62,6 × 43,5; 5 (relief)	1435, ca.	unknown	Florence, Bargello (Inv. Sc 470)
	Dead Christ Tended by Angels (Imago Pietatis) – function, attribution and date arguable	relief, low	marble	80,5 × 114,3 × 6	1435, ca.	unknown	London, Victoria and Albert Museum (Inv. 7577-1861)
	David with Sword and Severed Head of Goliath (bronze David)	statue on column (lost or as remains, original height over 2 m)	bronze, partly fire-gilded marble (attributed column remains)	159	1435–1440	Florence, Casa Vecchia de’ Medici, maybe at first in the old Medici palace, after 1457 in the court of Palazzo Medici, 1495 in the court of Palazzo della Signoria	Florence, Bargello
	Spiritello (Amor-Attis)	statue	bronze, partly fire-gilded	103 × 55 × 45	1435–1440, ca.	Florence	Florence, Bargello (since 1778, Inv. Br. 448)
	Spiritelli Candle-Holders (two)	statuettes, candelabra	bronze, gilding	58,5 × 42 × 28 65 × 32,5 × 22	1436–1438, ca.	Florence, Santa Maria del Fiore, for organ pulpit by Luca della Robbia	Paris, Institut de France, Musée Jacquemart-André (Inv. MJAP-S 1773-1 and 2)
	Saint John the Baptist	statue	wood, gesso primer/stucco, painted and gilded		1438	Venedig, Santa Maria Gloriosa dei Frari	Venedig, Santa Maria Gloriosa dei Frari
	Saint Lawrence – attribution and date arguable	half figure	terracotta, formerly painted	74,5 × 62	1440, ca.		private ownership
	Madonna and Child (Dudley Madonna)	relief, low	marble	27,2 × 16,5 × 2	1440, ca.	unknown	London, Victoria and Albert Museum (Inv. A.84-1927)
	Madonna and Child (Piot Madonna)	relief	terracotta, wax, glass, formerly gilded	74 × 75 × 7	1440, ca.	unknown	Paris, Louvre (since 1890, Inv. RF 3967)
	Madonna and Child (Madonna of the Cherubs)	relief with intarsia	terracotta, gesso primer/stucco, painted and gilded	99,6 × 69,5 20	1440–1445, ca.	unknown	Berlin, Bode Museum (since 1888, Inv. 54)
	Madonna and Child (Madonna dell'Umiltà Crowned by Two Angels)	relief tondo, gilded (in tabernacle by Desiderio da Settignano or Andrea Verrocchio)	bronze, fire-gilded	27 d (87 × 51 × 12)	1440–1445, ca. (tabernacle shortly after)	unknown	Wien, Kunsthistorisches Museum, Kunstkammer (Inv. KK 7462)
	Mary Magdalene (Penitent Magdalene)	statue	wood, gesso primer/stucco, painted and gilded	188	1440–1442	Florence, Baptistery San Giovanni	Florence, Museo dell'Opera del Duomo
	Crucifix	statue on cross	wood, gesso primer/stucco, painted	192 × 185	1440–1445	Padua, Santa Maria dei Servi	Padua, Santa Maria dei Servi
	Saint John the Baptist (San Giovannino Martelli) – function, attribution and date arguable	statue, in the round, with halo and rod with cross	marble, gilded bronze	159,5 (165) × 46,5 × 36	1442, ca.	Florence, Casa Martelli	Florence, Bargello (1913 from the Martelli family, Inv. Sc. 435)
	Crucifix	statue on cross	bronze	176 × 170 × 41	1443/44–1448/49	Padua, Basilica di Sant'Antonio, rood screen	Padua, Museo Antoniano
	Madonna and Child	relief, low	terracotta, gesso primer/stucco, painted	102 × 74 × 12, 112 kg	1445–1455, ca.	Val d'Elsa, Vigliano, San Lorenzo chapel	Paris, Louvre (1881, Inv. RF 353)
	High altar Madonna and Child (Virgin and Child Enthroned) with relief of The Fall of Man on throne's back six standing figures of Saints Francis, Louis of Toulouse, Prosdocimus, Anthony of Padua, Daniel and Justina four reliefs with Miracles of Saint Anthony twelve reliefs with angels making music The Entombment of Christ	statues (7) and 22 reliefs	bronze, patinated, partly fire-gilded (statues and reliefs) limestone (Entombment), white and coloured marble (altar)	123–164 (statues) 57 × 123 or 57, ca (each relief)	1446–1449	Padua, Basilica of Saint Anthony	Padua, Basilica of Saint Anthony (19th ct. reconstruction)
	Gattamelata Monument (Condottiere Erasmo da Narni)	Equestrian statue on pedestal with two reliefs and inscription	bronze, patinated marble (reliefs and plinth) sandstone (pedestal)		1446–1453, ca.	Padua, Piazza Sant'Antonio	Padua, Piazza Sant'Antonio
	Tomb slap of Giovanni Pecci (Bishop of Grosseto, † 1427)	relief, low	bronze, enamel inlays with glass, mostly lost	249,5 × 106,8 × 3	1448–1450	Siena, Cathedral, crossing, moved to St. Ansanus chapel (under Pecci patronage) in the 16th ct.	Siena, Cathedral, St. Ansanus chapel
	Flagellation of Christ and Crucifixion, predella frieze with spiritelli (Forzori Altar) bozzetto	relief, low, damaged	terracotta	53,5 × 27,1 × 4,5 (Flagellation) 54,7 × 30,5 × 5 (Crucifixion) 11,2 × 48,5 × 2,3 (Predella)	1450, ca.	Florence, owned by Forzori family	London, Victoria and Albert Museum (Inv. 7619 1-3-1861)
	Madonna and Child	relief, low	terracotta, gesso, painted	70 × 55 × 2	1450, ca.	unknown	Paris, Louvre (1986, Inv. RF 744)
	Calvary (Camondo Calvary) – function, attribution and date arguable	relief, low	bronze, formerly partly gilded	42,8 × 28,7 × 4,5	1450–1452	unknown (private commission)	Paris, Louvre (1897, Inv. OA 6477)
	Madonna and Child and Four Angels (Chellini Madonna)	relief tondo, low, flipside shows negative of relief usable to cast copies	bronze, gilded	28,5 d, 2,7, 4.2 kg	1450–1455	Florence, gift of Donatello to his doctor Giovanni Chellini	London, Victoria and Albert Museum (Inv. A.I-1976)
	Judith and Holofernes	sculptural group on triangular pedestal with three reliefs	bronze	236	1453–1457	Florence, Palazzo Medici, garden, after 1494 in the Loggia dei Lanzi on the Piazza della Signoria	Florence, Palazzo Vecchio
	Saint John the Baptist	statue	bronze	185	1455, ca.	Siena, Cathedral	Siena, Cathedral
	Bearded Head (Prophet?) – function, attribution and date arguable	bust	bronze	37 × 23 × 27	1455, ca.	Florence	Florence, Bargello (Inv. Br. 101)
	Madonna and Child (Seggiolino Madonna)	relief	terracotta, gilded	74,3 × 55,9	1455, ca.		London, Victoria and Albert Museum (Inv. 57:1&2-1867)
	Calvary	relief, low	bronze, partly gilded, silver, gilded copper	93 × 70 × 3,5	1455–1465	Florence, private commission, since 16th ct. owned by the Medici	Florence, Bargello (Inv. Br. 443)
	Horse's Head (Protome Carafa) – function, attribution and date arguable	protome, propably part of an equestrian statue not executed	bronze	187 × 185 × 80	1456	Naples, Castel Nuovo, triumphal arch (planned, commission by Alfonso of Aragon, † 1558)	Naples, Museo Archeologico Nazionale (Inv. 4887), from the Palazzo Carafa
	Madonna and Child (Madonna del Perdono)	relief	marble, white and coloured	91 × 88,2	1458, ca.	Siena, Cathedral, Vergine delle Grazie chapel	Siena, Museo dell'Opera del'Duomo
	Lamentation of Christ probably a bozzetto	relief, chasing	bronze	32,1 × 41,7 × 6,3	1458–1460	Siena, propably planned for the bronze doors of the Cathedral	London, Victoria and Albert Museum (Inv. 8552-1863)
	Passion of Christ and Resurrection scenes completion by Bartolomeo Bellano, Bertoldo di Giovanni and others – original function unclear	reliefs (), mounted into a free standing chancel in the 16th ct.	bronze	123 × 292	1461–1466	Florence, San Lorenzo	Florence, San Lorenzo

Arguable attributions, casts, variants and works after models by Donatello

Image	Attribution	Subject/Name	Form	Material	Dimensions (in cm)	Year	Location
	Donatello attributed	Madonna and Child	relief	terracotta, gesso primer/stucco, painted, wooden back	102,5 × 62,2 × 28,3	1410–15, ca.	Washington, National Gallery of Art, Samuel L. Kress Collection (Inv. 1943.4.93)
	Nanni di Bartolo	Madonna and Child	statue	terracotta, painted	47 × 35 × 10,5	1420, ca.	Berlin, Bode Museum (since 1913, Inv. M 7174)
	Donatello workshop	Madonna and Child and Four Angels (Hildburgh Madonna) – function, attribution and date arguable	relief, low	marble	41,5 × 32,5 × 3,4	1420–1430, ca.	London, Victoria and Albert Museum (Inv. A.98-1956)
	after Hildburgh Madonna attributed to Donatello	Madonna and Child, Two Angels, Saint Bartholomew ana a Crowned Saint	tabernacle, relief	stucco, gilded and painted	40,6 × 30,5 (relief) 76,2 × 38,1 × 7,5	1420–30, ca.	London, Victoria and Albert Museum (Inv. 93-1882)
	Donatello attributed	Christi Geburt (Ford Nativity)	relief	terracotta, formerly painted and gilded	47 × 35.6 × 8.3 (incl. frame: 82.6 × 48.3 × 8.3)	1420–1430, ca.	Detroit, Institute of Arts (Inv. F76.92)
	Donatello attributed	Madonna and Child (Mellon-Madonna)	statue	terracotta, painted and gilded	120,8 × 47,2 × 33,5	1422, ca.	Washington, National Gallery of Art, A. Mellon Collection (Inv. 1937.I.112)
	after Donatello	Madonna and Child in einer niche	relief, low	bronze, gilded	20,5 × 15,5 × 1	1426–30, ca. (Prototyp)	Berlin, Bode Museum (Inv. 3044)
	after Donatello	Madonna and Child in a niche	relief, low	bronze, gilded	20,4 × 15,3 × 8	1426–30, ca. (prototype)	Washington, National Gallery of Art, Samuel L. Kress Collection (Inv. 1957.14.131)
	after Donatello	Madonna and Child (Maria lactans)	relief, low	Blei	11,3 × 9,3	1430, ca.	Berlin, Bode Museum (Inv. 1028)
	unknown, maybe Michelozzo di Bartolomeo	Madonna and Child vor einer niche	relief, low, plaquette	Kupferlegierung	9,8 × 7,8	1430, ca.	London, Wallace Collection (Inv. S299)
	maybe workshop of Donatello and Michelozzo	Spiritelli with Escutcheon	relief, low	sandstone (pietra serena?), probably originally painted	59,5 × 61 × 5	1432, ca.	Berlin, Bode Museum (since 1916, Inv. 7210)
	Paolo Schiavo, painted and framed relief after model by Donatello	Madonna and Child Between Angels , Godfather, Eve and a crowned Prophet	tabernacle, relief	stucco (relief) in wooden framing, painted and gilded	12,1 × 9,5 (relief) 36,5 × 20,2 × 5,2	1435, ca.	London, Victoria and Albert Museum (Inv. A.45-1926)
	maybe Donatello workshop	Spiritello with Fish	statuette, propably from a font at a wall	bronze	40,5 × 40,4 × 11, 7 kg	1435–1440	London, Victoria and Albert Museum (Inv. 475-1864)
	after Donatello	Madonna and Child (Pugliese Dudley Madonna)	relief, low	stucco, painted	31,5 × 21	1440, ca. (Prototyp)	Berlin, Bode Museum (Inv. 2627)
	Desiderio da Settignano, alt. Donatello attributed	Bust of Niccolò da Uzzano	portrait bust	terracotta, painted	46 h	1440–1455	Florence, Bargello
	maybe Donatello workshop	Madonna and Child (Madonna dei Cordai)	relief	stucco, leather, glass and wax on wood, painted, gilded and silvered	93 × 78	1440–1460	Florence, Museo Bardini
	after Donatello	Madonna and Child	relief, low	stucco, painted	99 × 66,6 × 11,5	1450, ca. (prototype)	Berlin, Bode Museum (Inv. 2634)
	Donatello workshop	Madonna and Child (copy of Pazzi Madonna)	relief in tabernacle	terracotta, painted and gilded	70 × 55 × 2 (relief only)	1450, ca.	Paris, Louvre (Inv. RF 744)
	Donatello attributed	Playing Cherubs (Spiritelli)	relief	bronze	4.8 × 8.4 × 0.5	1450er, (mid 15th ct.)	Detroit, Institute of Arts (Inv. F70.32)
	Donatello attributed	Coat of Arms of the Martelli Family	relief	sandstone (macigno), primer, painted	109,2	1450er, (mid 15th ct.)	Detroit Institute of Arts (1925, Inv. 25.156)
	Donatello attributed or the model executed under his direction by the workshop of Desiderio and Geri da Settignano	Coat of Arms of the Martelli family	relief	sandstone (pietra serena), partly painted and gilded		1455, ca.	Florence, Bargello (Inv. 532 S)
	after Donatello	Crucifixion	relief, low	stucco on poplar with remnants of gilding	36,5 × 26,5 × 7,5	1455–1470	Berlin, Bode Museum (Inv. 53)
	Desiderio da Settignano	Coat of Arms of Boni family	relief	sandstone (pietra serena)	215,9 × 74,3	1456-1458, ca.	Detroit, Institute of Arts (Gift of Mr. and Mrs. Edsel B. Ford, Inv. 41.124)
	Cast after a lost model attributed to Donatello	David with the Severed Head of Goliath probably a bozzetto	statuette	bronze (after a wax model)	36,8 × 10,3 × 10	1460–1465	Berlin, Bode Museum (Inv. 2262)
	Donatello attributed	Madonna and Child and Five Angels probably a bozzetto	relief	terracotta, originally painted	21,5 × 15,5 × 4,2	1465, ca.	Berlin, Bode Museum (Inv. M 88)

Bibliography

• Horst W. Janson (1957). The Sculpture of Donatello (2 Vol.). Princeton: Princeton University Press.. Archive-URL of the 1963 edition in one volume with less images.
• John Pope-Hennessy (1996) [1958]. An Introduction to Italian Sculpture, Vol. 2: Italian Renaissance Sculpture (4., revised ed.). London: Phaidon.
• Francesco Caglioti with Laura Cavazzini, Aldo Galli and Neville Rowley (2022). Donatello. The Renaissance. Venice: Marsilio Arte. ISBN 979-12-5463-006-8.
• Neville Rowley with Francesco Caglioti, Laura Cavazzini and Aldo Galli (2022). Donatello. Erfinder der Renaissance. Leipzig: E.A. Seemann. ISBN 978-3-86502-482-4.

Further reading

• Avery, Charles, Donatello. Catalogo completo delle opere, Firenze 1991.
• Wilson, Carolyn C., Renaissance Small bronze Sculpture and Associated Decorative Arts, 1983, National Gallery of Art (Washington), ISBN 0894680676

External links

• The Chellini Madonna Sculpture. Victoria and Albert Museum

Category:Italian Renaissance sculptors Category:1380s births Category:1466 deaths Category:Sculptors from Florence Category:Italian male sculptors Category:15th-century people of the Republic of Florence Category:Burials at San Lorenzo, Florence Category:Italian Roman Catholics Category:Renaissance sculptors Category:15th-century Italian sculptors Category:Catholic sculptors

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Frisell

Artists	Title	Year	Label
Michel Herr, Bill Frisell, Vinton Johnson, Kermit Driscoll	Good Buddies	1978	EMI Belgium
Eberhard Weber	Fluid Rustle	1979	ECM
Emil Viklický, Bill Frisell, Kermit Driscoll, Vinton Johnson	Okno	1981	Supraphon
Arild Andersen	A Molde Concert	1982	ECM
Jan Garbarek	Paths, Prints	1982	ECM

Hubbard

As sideman

Main artist	Title	Label	Year
Manny Albam	The Soul of the City	Solid State	1966
Roberto Ávila & Sarava	Come to Brazil	Sonet	1989
George Benson	The Other Side of Abbey Road	A&M/CTI	1969
Walter Benton	Out of this World	Jazzland	1960
Art Blakey	Mosaic	Blue Note	1961
Art Blakey	Buhaina's Delight	Blue Note	1961

Laurie Anderson

Original audio work

Peak positions of national charts are mentioned in the "Notes"

Date	Artist	Album title	Label	Notes
1977	Various Artists	Airwaves	One Ten	"Two Record Anthology of Artists' Aural Work & Music", four tracks by L.A.: "Ethics Is the Esthetics of the Few-ture (Lenin)" and "Song for Juanita" for tape bow violin, "Is Anybody Home", "It's Not the Bullett, That Kills You, It's the Hole" with Scott Johnson, Peter Gordon a.o.
1977	Various Artists	New Music for Electronic and Recorded Media	1750 Arch	Women only audio art compilation with two (of 8) tracks by L.A. with Scott Johnson: "New York Social Life", "Time to Go (For Diego)"
1981	Laurie Anderson, William S. Burroughs and John Giorno	You're the Guy I Want to Share My Money With	Giorno Poetry Systems	Compilation, first eight (of 18) tracks by L.A. with Perry Hoberman (1) and Wharton Tiers (3)

Date	Album title	Label	Notes
1982	Big Science	Warner	Debut album; US #124, NZ #8, UK #29
1984	Mister Heartbreak	Warner	US #60, CH #19, NL #23, NZ #12, SE #46, UK #93
1984	United States Live	Warner	Live performance, 5 LP (4 CD) boxed set; US #192
1986	Home of the Brave	Warner	Soundtrack; US #145, NZ #14, SE #34
1989	Strange Angels	Warner	US #171
1994	Bright Red	Warner	US #195
1995	The Ugly One with the Jewels	Warner	Spoken-word album
2000	Talk Normal: The Laurie Anderson Anthology	Warner	Compilation with remastered LP versions
2001	Life on a String	Nonesuch/Elektra Records	DE #84
2002	Live at Town Hall New York City September 19-20, 2001	Nonesuch	Live performance
2010	Homeland	Nonesuch	DE #62 , GR #41
2015	Heart of a Dog	Nonesuch	Spoken-word, soundtrack

Singles

• "O Superman" (1981) No. 2 UK; BE (Vl) No. 19; IRL No. 11; NL No. 10; NZ No. 21
• "Big Science" (1981)
• "Sharkey's Day" (1984)
• "Language Is a Virus" (1986)
• "Strange Angels" (1989)
• "Babydoll" (1989) No. 7 US Modern Rock
• "Beautiful Red Dress" (1990)
• "In Our Sleep" (1994)
• "Big Science 2" (2007) (Currently available only on iTunes)
• "Mambo and Bling" (2008)
• "Only an Expert" (2010)

As guest artist

• song: "This Is the Picture (Excellent Birds)" with Peter Gabriel (1986, So ~ Geffen / Charisma)
• Zoolook by Jean Michel Jarre (1984 ~ Disques Dreyfus)
• song: "Speak My Language" (1993; Faraway, So Close! Soundtrack ~ SBK Records / ERG)
• A Chance Operation: The John Cage Tribute with text by John Cage (1993 ~ Koch International Classics)
• song: "Enquanto Isso" with Marisa Monte (1994, Verde, anil, amarelo, cor de rosa e carvão ~ EMI-Odeon; Rose and Charcoal ~ Blue Note)
• song: "Una hoja, una raiz" (One Leaf, One Root) with Diego Frenkel (La Portuária) and Aterciopelados (1996, Silencio=Muerte: Red Hot + Latin ~ H.O.L.A Records)
• song: "Je me souviens" by Jean Michel Jarre (2000, Métamorphoses ~ Sony Music)
• song: "Gentle Breeze" with Lou Reed (2004, Mary Had a Little Amp – a preschool education benefit CD ~ Epic)
• song: "The Fifth Plague" (The Death of Livestock) (2006, Plague Songs ~ 4AD)
• The Stone: Issue Three with John Zorn and Lou Reed (2008 ~ Tzadik)
• song: "The Electrician" (2009, Music Inspired by the Film Scott Walker: 30 Century Man ~ Lakeshore)
• Femina by John Zorn (2009 ~ Tzadik)
• New History Warfare Vol. 2: Judges by Colin Stetson (2011 ~ Constellation)
• song: "Rely on Me" with Jean Michel Jarre (2015, Electronica 1: The Time Machine ~ Columbia)

DIG

Untitled

Professional ratings

Review scores
Source	Rating
Allmusic
PopMatters	7/10
The Rolling Stone Jazz Record Guide

Dig is an album by Miles Davis released in 1956 on Prestige Records, catalogue number 7012. It features tracks from a single 1951 recording session at Apex Studios in New York, remastered for the new 12" LP format release by Rudy Van Gelder.

It was Davis' second session date for Prestige, and the first one that allowed for each track to be longer than the up to this time usual three minutes length that fitted on the 10" shellack LPs

Initially released in the twelve-inch format in 1956, Dig was later reissued as a compact disc with additional tracks. The original album was re-released in 1963 as Diggin' with the catalogue number PR 7281 and a different cover. That later version is the one currently widely available on vinyl although the expanded version of Dig is the one available on CD.

The material was originally released on two 10 inch LPs, except for "Denial," released on a 1954 7" (Prestige PREP 1361). "Dig" and "It's Only a Paper Moon" first appeared on The New Sounds (PRLP 124), as did "Conception" and "My Old Flame". "Bluing" and "Out of the Blue" were originally released on Blue Period (PRLP 140). When the material was reconfigured for the new 12inch format, "Conception" and "My Old Flame" were included on the Prestige various artists collection Conception (PRLP 7013).

After inaugurating the school of cool jazz with the Birth of the Cool recording sessions in 1949 and 1950, Davis almost immediately turned away from that soand in the early 1950s, to which this recording attests.

Dig was also the jazz recording debut of saxophonist Jackie McLean. -> "Dig"="Donna" (md vol.1), written by McLean, langsamer and nur 3 min

1991 Remastering – Joe Tarantino in Berkeley 2010 24-bit Remastering – Joe Tarantino in Berkeley

Track listing

All tracks written by Miles Davis except "Paper Moon" by Harold Arlen, Yip Harburg, and Billy Rose, "My Old Flame" by Sam Coslow and Arthur Johnston, "Conception" by George Shearing and "Dig" by Jackie Mclean.

12" LP

Side one

1. "Dig" (7:33)
2. "It's Only a Paper Moon" (5:23)
3. "Denial" (5:39)

Side two

1. "Bluing" (9:55)
2. "Out of the Blue" (6:15)

CD reissue

1. "Dig" (7:33)
2. "It's Only a Paper Moon" (5:23)
3. "Denial" (5:39)
4. "Bluing" (9:55)
5. "Out of the Blue" (6:15)
6. "Conception" (4:01)
7. "My Old Flame" (6:34)

Personnel

• Miles Davis – trumpet
• Jackie McLean – alto saxophone (on "Dig" and all Davis originals)
• Sonny Rollins – tenor saxophone
• Walter Bishop, Jr. – piano
• Tommy Potter – double bass
• Art Blakey – drums

eno disco

Collaborative albums

Year	Album	Partners notes	Label	Peak chart positions
				UK	US	US Alt	US Elec.	US Indie	US Rock
1973	(No Pussyfooting)	Robert Fripp	Island (HELP 16)	—	—	—	—	—	—
1974	June 1, 1974	Kevin Ayers, John Cale, and Nico	Island (ILPS 9291)	—	—	—	—	—	—
	Lady June's Linguistic Leprosy	Kevin Ayers, Pip Pyle and Lady June	Caroline/Virgin (C 1509)	—	—	—	—	—	—
1975	Evening Star	Robert Fripp	Island (HELP 22)	—	—	—	—	—	—
1977	Cluster & Eno	Cluster	Sky (010)	—	—	—	—	—	—
1978	After the Heat	Cluster, listed as Eno, Moebius, Roedelius	Sky (021)	—	—	—	—	—	—
1979	(Robert Sheckley's) In a Land of Clear Colours	Peter Sinfield (as narrator) Multimedia album, text by Robert Sheckley, illustrations by Leonor Quiles Limited ed. of 1000, masters were then destroyed	Mensanjero Voiceprint (VP151CD)	—	—	—	—	—	—
1980	Ambient 2: The Plateaux of Mirror	Harold Budd	E.G. (EGAMB 002)	—	—	—	—	—	—
	Fourth World, Vol. 1: Possible Musics	Jon Hassell	E.G. (EGED 7)	—	—	—	—	—	—
1981	My Life in the Bush of Ghosts	David Byrne	E.G. (EGLP 48)	29	44	—	—	—	—
1984	The Pearl	Harold Budd	E.G. (EGSP-2)	—	—	—	—	—	—
1988	Music for Films III	Daniel Lanois, Roger Eno, Michael Brook, Harold Budd, Laraaji a.o.	Opal (25769)	—	—	—	—	—	—
1990	Wrong Way Up	John Cale	Opal (26421)	—	—	—	—	—	—
1995	Spinner	Jah Wobble	All Saints (23)	71	—	—	—	—	—
	Original Soundtracks 1	U2, listed as Passengers	Island (8043)	12	76	—	—	—	—
1997	Tracks and Traces	Harmonia & Eno '76 (or Harmonia '76)	Rykodisc	—	—	—	—	—	—
2000	Music for Onmyo-Ji	J. Peter Schwalm	Victor Jp (60980)	—	—	—	—	—	—
2001	Drawn from Life	J. Peter Schwalm	Astralwerks (10148)	196	—	—	—	—	—
2004	The Equatorial Stars	Robert Fripp	Opal	—	—	—	23	—	—
2007	Beyond Even	Robert Fripp	DGM (0702)	—	—	—	—	—	—
2008	Everything That Happens Will Happen Today	David Byrne	Todo Mundo	153	174	—	—	18	—
2010	Small Craft on a Milk Sea	Leo Abrahams and Jon Hopkins	Warp	82	84	15	2	9	22
2011	Drums Between the Bells	Rick Holland	Warp	106	—	—	9	44	—
	Panic of Looking	Rick Holland	Warp	—	—	—	—	—	—
2014	Someday World	Karl Hyde	Warp	46	194	—	6	33	50
	High Life	Karl Hyde	Warp	94	194	—	7	31	—
2017	Finding Shore	Tom Rogerson	Dead Oceans (DOC146)	—	—	—	—	—	—
2020	Mixing Colours	Roger Eno	Opal	—	—	—	23	—	—
2023	Secret Life	Fred Again	Text	—	—	—	24	—	—
"—" denotes albums that did not chart

MenkinAlRire 13:52, 9 August 2016 (UTC)