[240] It is probable that these famous horses were mere wrecks in the fifteenth century. At any rate, Lafreri's engraving of 1546 shows one of them without breast or forelegs, the remainder of the horse being nothing but a large pillar of brick. Herr von Kaufmann has an admirable statuette of Donatello's latter period modelled from the horses on the San Lorenzo frieze. Cf. also Mantegna in the Madonna di San Zeno, Verona.
[241] E.g., work wrongly attributed to Donatello: the figure of Plenty in the courtyard of the Canigiani Palace, Florence; the Lavabo in San Lorenzo; the two figures on the famous silver altar at Pistoja; the bronze busts in the Bargello; the font at Pietra Santa; chimney-pieces, gateways, stemme, and numberless Madonnas and small bronzes.
[242] Casa Buonarroti, Florence.
[243] From the Gualandi Collection. It is attributed by some to a Neapolitan sculptor.
[244] "Vita," 1553, p. 14.
[245] "Ricordi," 1554, p. 51.
[246] "De Sculptura," 1504, gathering f. "Donatellus ... aere ligno, marmore laudatissimus, plura hujus unius manu extant opera, quam semel ab eo ad nos cæterorum omnium."
[247] "Italia Illustrata," Bâle, 1531, p. 305. "Decorat etiam urbem Florentiam ingenio veterum laudibus respondente, Donatello Heracleotae Zeusi aequiparandus, ut vivos, juxta Virgilii verba, ducat de marmore vultus."
[248] "De Viris illustribus," Florence ed. 1745, p. 51. "Donatellus ... excellet non aere tantum, sed etiam marmore notissimus, ut vivos vultus ducere, et ad antiquorum gloriam proxime accedere videatur."
[249] "Dialogues," Raczynski ed. Paris, 1846, p. 56.